halloween: h20 twenty years later story by robert zappia ... · you scared the hell out of me....

HALLOWEEN: H20HALLOWEEN: H20TWENTY YEARS LATERTWENTY YEARS LATER

StoryStory

byby

Robert ZappiaRobert Zappia

WrittenWritten

byby

Robert ZappiaRobert Zappia

andand

Matthew GreenbergMatthew Greenberg

This screenplay has been converted to a PDF file by ScreenTalk™http://www.screentalk.org

http://www.screentalk.org

FADE IN:FADE IN:

EXT. STREET - NIGHT - SUBURBIAEXT. STREET - NIGHT - SUBURBIA

Langley, Illinois. A quiet suburb located fifty milesLangley, Illinois. A quiet suburb located fifty milesoutside of Chicago.outside of Chicago.

SUPER the legend: "Langley, Illinois. October 28th 1998"SUPER the legend: "Langley, Illinois. October 28th 1998"

A HOUSEA HOUSE

nestled in the middle of a tree-lined street. A Honda Civicnestled in the middle of a tree-lined street. A Honda Civicpulls into a darkened driveway, the headlights arepulls into a darkened driveway, the headlights areextinguished...extinguished...

PAMELA WHITTINGTON, a middle-aged woman in full registeredPAMELA WHITTINGTON, a middle-aged woman in full registerednurse attire, emerges from the parked car.nurse attire, emerges from the parked car.

An unlit cigarette dangles loosely from her lips. She headsAn unlit cigarette dangles loosely from her lips. She headsto the porch, digging through her purse in search of ato the porch, digging through her purse in search of alight...light...

CRUNCH!CRUNCH!

Pamela stops in her tracks, looks down at her feet to discoverPamela stops in her tracks, looks down at her feet to discover

GLASSGLASS

scattered across the porch. She looks at the porch lightscattered across the porch. She looks at the porch lighthanging above her head.hanging above her head.

A SHATTERED LIGHT BULB occupies the socket.A SHATTERED LIGHT BULB occupies the socket.

Pamela turns her attention to the front door... it's slightlyPamela turns her attention to the front door... it's slightlyajar. She pushes on it gently.... the door swings openajar. She pushes on it gently.... the door swings openfreely, revealing the darkened interior.freely, revealing the darkened interior.

PAMELAPAMELAShit...Shit...

Pamela drops her purse... darts across some hedges into thePamela drops her purse... darts across some hedges into theneighbor's yard...neighbor's yard...

EXT. THE HOUSE NEXT DOOREXT. THE HOUSE NEXT DOOR

Pamela runs up to the porch, decorated with carvedPamela runs up to the porch, decorated with carvedpumpkins... POUNDS furiously on the front door, decoratedpumpkins... POUNDS furiously on the front door, decoratedwith a CARDBOARD SKELETON.with a CARDBOARD SKELETON.

NO ANSWER.NO ANSWER.

She POUNDS again... HARDER. Suddenly, the door SWINGS openShe POUNDS again... HARDER. Suddenly, the door SWINGS opento revealto reveal

2. 2.

AN OMINOUS FIGUREAN OMINOUS FIGURE

looming in the doorway. A HOCKEY MASK cloaks his face.looming in the doorway. A HOCKEY MASK cloaks his face.

A PAIR OF EYESA PAIR OF EYES

glare at Pamela from behind the cut-outs in the plasticglare at Pamela from behind the cut-outs in the plasticvizard.vizard.

PAMELAPAMELA

gasps, stumbles backward.gasps, stumbles backward.

THE FIGURETHE FIGURE

flips up his mask to revealflips up his mask to reveal

JIMMY HOWELLJIMMY HOWELL

a gangly teen, wearing a hockey jersey... skates slung overa gangly teen, wearing a hockey jersey... skates slung overhis shoulder.his shoulder.

JIMMYJIMMYHey, Miss Whittington, what's up?Hey, Miss Whittington, what's up?

PAMELAPAMELAMy blood pleasure. You scared theMy blood pleasure. You scared thehell out of me.hell out of me.

JIMMYJIMMYOh. Sorry. I'm on my way to theOh. Sorry. I'm on my way to thering and --ring and --

PAMELAPAMELA(interrupting)(interrupting)

I think someone broke into myI think someone broke into myhouse.house.

JIMMYJIMMYNo shit?!No shit?!

PAMELAPAMELANo shit.No shit.

CUT TO:CUT TO:

INT. LIVING ROOM - MINUTES LATERINT. LIVING ROOM - MINUTES LATER

Pamela sits on the couch taking hits off a lit cigarette.Pamela sits on the couch taking hits off a lit cigarette.Jimmy paces the room, portable phone pressed against his ear.Jimmy paces the room, portable phone pressed against his ear.

3. 3.

JIMMYJIMMY(into phone)(into phone)

3037 Keystone.. yeah... gotcha.3037 Keystone.. yeah... gotcha.

Jimmy hangs up the portable...Jimmy hangs up the portable...

JIMMYJIMMY(continuing)(continuing)

Said to give 'em fifteen minutes.Said to give 'em fifteen minutes.They'll send someone by.They'll send someone by.

Jimmy grabs his hockey stick, heads for the door.Jimmy grabs his hockey stick, heads for the door.

PAMELAPAMELAJimmy, what are you doing?Jimmy, what are you doing?

JIMMYJIMMYChecking out your place.Checking out your place.

PAMELAPAMELANo. Wait for the police.No. Wait for the police.

JIMMYJIMMYAnd miss the big game? No way.And miss the big game? No way.

CUT TO:CUT TO:

EXT. HOUSE - MINUTES LATEREXT. HOUSE - MINUTES LATER

Pamela stands at the foot of her driveway... watches as JimmyPamela stands at the foot of her driveway... watches as Jimmyclimbs the steps to her porch, hockey stick perched high onclimbs the steps to her porch, hockey stick perched high onhis shoulder.his shoulder.

JIMMYJIMMY

moves toward the front door, stepping on pieces of shatteredmoves toward the front door, stepping on pieces of shatteredlight bulb beneath him.light bulb beneath him.

He swings open the front door with the tip of his stick...He swings open the front door with the tip of his stick...looks inside the darkened house.looks inside the darkened house.

He enters cautiously, stick at the ready.He enters cautiously, stick at the ready.

PAMELAPAMELA

lights up another cigarette, watches nervously as Jimmylights up another cigarette, watches nervously as Jimmydisappears from view...disappears from view...

INT. HOUSEINT. HOUSE

Jimmy enters the dimmed foyer.Jimmy enters the dimmed foyer.

4. 4.

JIMMYJIMMY(calling off)(calling off)

Hey, man, don't mess with me! I'llHey, man, don't mess with me! I'llknock your head clean off yourknock your head clean off yourbody!body!

He moves stealthily through the house, hockey stick poisedHe moves stealthily through the house, hockey stick poisedhigh in the air... room-by-room he checks for intruders...high in the air... room-by-room he checks for intruders...

Jimmy finds his way to the rear of the home, crosses to aJimmy finds his way to the rear of the home, crosses to aback bedroom, stands in the doorway...back bedroom, stands in the doorway...

JIMMYJIMMY(continuing)(continuing)

Oh, shit...Oh, shit...

ON THE BEDROOMON THE BEDROOM

Converted to a home office... ransacked... file cabinetsConverted to a home office... ransacked... file cabinetsoverturned, pictures hang crooked on the walls, papers carpetoverturned, pictures hang crooked on the walls, papers carpetthe floor...the floor...

JIMMYJIMMY

drops the stick to his side, convinced he is now alone in thedrops the stick to his side, convinced he is now alone in thehouse.house.

He crosses back into the kitchen... steals a cookie from aHe crosses back into the kitchen... steals a cookie from acookie jar... opens the fridge... takes a swig from an opencookie jar... opens the fridge... takes a swig from an openmilk carton... completely unaware that --milk carton... completely unaware that --

THE BEDROOM CLOSET DOORTHE BEDROOM CLOSET DOOR

is opening slowly behind him, then suddenly --is opening slowly behind him, then suddenly --

CRASH!CRASH!

An IRONING BOARD topples out from inside, slams against hisAn IRONING BOARD topples out from inside, slams against hisback, hard.back, hard.

JIMMYJIMMY

snaps the hockey stick into position... spins around...snaps the hockey stick into position... spins around...swings wildly with the wooden baton. He makes contact with...swings wildly with the wooden baton. He makes contact with...

A POT RACKA POT RACK

suspended above the island... pots dangling from their hookssuspended above the island... pots dangling from their hookscome clanging down on top of him...come clanging down on top of him...

The dust settles... Jimmy realizes he's been beating theThe dust settles... Jimmy realizes he's been beating thestuffing out of an ironing board. He sheepishly exits thestuffing out of an ironing board. He sheepishly exits thekitchen...kitchen...

5. 5.

EXT. HOUSE - MINUTES LATEREXT. HOUSE - MINUTES LATER

Pamela stands at the foot of the driveway, trying to see inPamela stands at the foot of the driveway, trying to see into the darkened house...to the darkened house...

PAMELAPAMELACome on, damn it...Come on, damn it...

Jimmy emerges from the house... looks like Wayne GretskyJimmy emerges from the house... looks like Wayne Gretskyafter slamming in his record goal. He smiles at Pamelaafter slamming in his record goal. He smiles at Pamelasmugly...smugly...

JIMMYJIMMYNothing to fear. The coast isNothing to fear. The coast isclear.clear.

PAMELAPAMELAYou sure?You sure?

JIMMYJIMMYTotally. I checked all the roomsTotally. I checked all the roomsand closets...and closets...

PAMELAPAMELANothing's missing?Nothing's missing?

JIMMYJIMMYDon't think so. But they sure didDon't think so. But they sure dida real number on your office. Crapa real number on your office. Crapeverywhere.everywhere.

PAMELAPAMELAMy office?My office?

JIMMYJIMMYYeah. Oh, and they messed up yourYeah. Oh, and they messed up yourkitchen pretty good, too...kitchen pretty good, too...Goodnight.Goodnight.

Jimmy scurries off, avoiding any more questions.Jimmy scurries off, avoiding any more questions.

Pamela heads back to the house.Pamela heads back to the house.


Pamela enters the house, LOCKS AND BOLTS the front doorPamela enters the house, LOCKS AND BOLTS the front doorbehind her. She breathes a heavy sigh of relief, backbehind her. She breathes a heavy sigh of relief, backagainst the door... she flicks on a light switch... NOTHING.against the door... she flicks on a light switch... NOTHING.

PAMELAPAMELAChrist, Jimmy... didn't you tryChrist, Jimmy... didn't you trythe goddamn lights?!the goddamn lights?!

6. 6.

Pamela moves down the hallway to the laundry room... shePamela moves down the hallway to the laundry room... sheopens the door to the FUSE BOX... toggles some fuses on andopens the door to the FUSE BOX... toggles some fuses on andoff... tries the laundry room light... still NOTHING,off... tries the laundry room light... still NOTHING,darkness.darkness.

PAMELAPAMELA(continuing)(continuing)

Shit.Shit.

She grabs a flashlight out of the nearby cupboard, andShe grabs a flashlight out of the nearby cupboard, andproceeds down the hall to --proceeds down the hall to --

INT. OFFICEINT. OFFICE

The converted bedroom in complete disarray... PamelaThe converted bedroom in complete disarray... Pamelanavigates through the wreckage, carving a path with the beamnavigates through the wreckage, carving a path with the beamof her flashlight. She approaches --of her flashlight. She approaches --

A DESKA DESK

completely bare except for a single FILE FOLDER resting oncompletely bare except for a single FILE FOLDER resting onits top.its top.

PAMELAPAMELA

shines the beam on the lone file folder.shines the beam on the lone file folder.

ON the folder... the index tab reads "KERI TATE." PamelaON the folder... the index tab reads "KERI TATE." Pamelaopens the folder, it's EMPTY.opens the folder, it's EMPTY.

PAMELAPAMELA

gasps, the blood rushes from her face. She immediatelygasps, the blood rushes from her face. She immediatelyrushes for the phone.rushes for the phone.

CLANK!CLANK!

A noise is heard. She's not alone in this house. She movesA noise is heard. She's not alone in this house. She movesthrough the hallway to discover the front door wide open.through the hallway to discover the front door wide open.Shit. She bolts.Shit. She bolts.

EXT. HOUSEEXT. HOUSE

Pamela runs out the door and back to Jimmy's house. ShePamela runs out the door and back to Jimmy's house. Sheopens the front door, disappears inside.opens the front door, disappears inside.


Pamela shuts the door behind her... cranes her neck,Pamela shuts the door behind her... cranes her neck,searching for any signs of Jimmy --searching for any signs of Jimmy --

She HEARS the sounds of a television emanating from deepShe HEARS the sounds of a television emanating from deepwithin the house.within the house.

7. 7.

PAMELAPAMELA(calling off)(calling off)

Jimmy! You still there?!Jimmy! You still there?!

CAMERA FOLLOWS Pamela as she makes her way from one darkenedCAMERA FOLLOWS Pamela as she makes her way from one darkenedroom to the next... she crosses into the den to discoverroom to the next... she crosses into the den to discover

JIMMYJIMMY

seated in an easy-chair, watching an episode of "SEINFELD."seated in an easy-chair, watching an episode of "SEINFELD."his back to Pamela... only his legs are visible from herhis back to Pamela... only his legs are visible from herpoint-of-view.point-of-view.

Pamela approaches him --Pamela approaches him --

PAMELAPAMELAGoddamnit, Jimmy! Someone's stillGoddamnit, Jimmy! Someone's stillin my house!in my house!

Pamela spins the easy-chair around to reveal --Pamela spins the easy-chair around to reveal --

A HOCKEY SKATEA HOCKEY SKATE

embedded deep into Jimmy's face... the blade slicing throughembedded deep into Jimmy's face... the blade slicing throughflesh, from forehead to chin... eyes wide open in terror...flesh, from forehead to chin... eyes wide open in terror...blood cascades down his jersey...blood cascades down his jersey...

PAMELAPAMELA

screams... bolts through the house, reaches the front door toscreams... bolts through the house, reaches the front door tofind --find --

A CHINA CABINETA CHINA CABINET

pushed in front of it, blocks her way! She tries fiercely topushed in front of it, blocks her way! She tries fiercely tomove the wooden hutch, but can't...move the wooden hutch, but can't...

Pamela runs back through the house, frantic... in desperatePamela runs back through the house, frantic... in desperatesearch of an exit.search of an exit.

She crosses into the kitchen, spots her escape... moves toShe crosses into the kitchen, spots her escape... moves tothe rear door, opens it to reveal...the rear door, opens it to reveal...

THE SHAPETHE SHAPE

standing, poised, evil eyes burning through slits in hisstanding, poised, evil eyes burning through slits in histrademark mask.trademark mask.

PAMELAPAMELA

shrieks... grabs a knife out of a nearby butcher block...shrieks... grabs a knife out of a nearby butcher block...heads back to the living room.heads back to the living room.

8. 8.

THE SHAPETHE SHAPE

moves after her, the hunt is on...moves after her, the hunt is on...

INT. LIVING ROOMINT. LIVING ROOM

FLASHING RED AND BLUE LIGHTSFLASHING RED AND BLUE LIGHTS

illuminate the room...illuminate the room...

PAMELAPAMELA

runs to a window...runs to a window...

ANGLE THROUGH WINDOWANGLE THROUGH WINDOW

A squad car arrives in front of Pamela's house. TwoA squad car arrives in front of Pamela's house. TwoUNIFORMED COPS emerge from the vehicle, head up her driveway.UNIFORMED COPS emerge from the vehicle, head up her driveway.

PAMELAPAMELA

Struggles to open the window... she can't manage to disengageStruggles to open the window... she can't manage to disengagethe lock... she pounds feverishly on the glass --the lock... she pounds feverishly on the glass --

PAMELAPAMELA(yelling)(yelling)

HELP! GODDAMNIT IT! OVER HERE!HELP! GODDAMNIT IT! OVER HERE!GOD PLEASE!GOD PLEASE!

THE SHAPETHE SHAPE

appears behind her... grabs an IRON POKER from a group ofappears behind her... grabs an IRON POKER from a group offireplace utensils.fireplace utensils.

PAMELAPAMELA

spins around, swings at the Shape with the knife...spins around, swings at the Shape with the knife...

PAMELAPAMELAStay the fuck away from me!Stay the fuck away from me!

The Shape swings the iron poker... delivers a severe blow toThe Shape swings the iron poker... delivers a severe blow toPamela's arm... breaks it... the knife falls to the floorPamela's arm... breaks it... the knife falls to the floorbelow.below.

Pamela howls in pain... drops to her knees, nurses her arm...Pamela howls in pain... drops to her knees, nurses her arm...

The Shape raises the poker high into the air, comes downThe Shape raises the poker high into the air, comes downhard... drives the tip of the poker through her skull...hard... drives the tip of the poker through her skull...CRACK!CRACK!

9. 9.

EXT. PAMELA'S FRONT PORCH - SAME TIMEEXT. PAMELA'S FRONT PORCH - SAME TIME

In the f.g. two cops climb the porch steps and move into theIn the f.g. two cops climb the porch steps and move into thehouse.house.

In the b.g. we can see the Shape through the neighboringIn the b.g. we can see the Shape through the neighboringwindow as he repeatedly stabs Pamela with the poker.window as he repeatedly stabs Pamela with the poker.

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - ESTABLISHING - MORNINGEXT. HILLCREST ACADEMY - ESTABLISHING - MORNING

CLOSE ON A PLAQUECLOSE ON A PLAQUE

"HILLCREST ACADEMY. ESTABLISHED 1874""HILLCREST ACADEMY. ESTABLISHED 1874"

THE CAMERA PULLS BACK TO REVEAL a co-ed boarding school...THE CAMERA PULLS BACK TO REVEAL a co-ed boarding school...set behind massive wrought-iron gates on acreage in aset behind massive wrought-iron gates on acreage in asecluded region of Wisconsin.secluded region of Wisconsin.

SUPER the legend: "Ferndale, Wisconsin. October 29th 1998."SUPER the legend: "Ferndale, Wisconsin. October 29th 1998."

The academy's gothic architecture and rich history can beThe academy's gothic architecture and rich history can beseen throughout the entire campus, consisting of a cluster ofseen throughout the entire campus, consisting of a cluster ofbuildings: the school, the dorms, a gymnasium with indoorbuildings: the school, the dorms, a gymnasium with indoorswimming pool, a bell tower, a guard house and --swimming pool, a bell tower, a guard house and --

A GROUP OF FACULTY HOUSESA GROUP OF FACULTY HOUSES

litters the far end of the campus.litters the far end of the campus.

CLOSE ON a kitchen window. Inside KERI TATE, mid-thirties,CLOSE ON a kitchen window. Inside KERI TATE, mid-thirties,stands behind a sink washing dishes.stands behind a sink washing dishes.

On closer inspection, we see that this face is none otherOn closer inspection, we see that this face is none otherthat LAURIE STRODE.that LAURIE STRODE.

INT. KITCHEN - MORNINGINT. KITCHEN - MORNING

Keri stands with her back to JOHN, 16, chiseled good looks.Keri stands with her back to JOHN, 16, chiseled good looks.He stands behind her in the doorway... They are in mid-He stands behind her in the doorway... They are in mid-conversation --conversation --

KERIKERINothing's changed since yesterday,Nothing's changed since yesterday,or last week, or last month... theor last week, or last month... theanswer's still "no."answer's still "no."

JOHNJOHNYou're so predictable.You're so predictable.

Keri grabs the sprayer, squirts John from across the room.Keri grabs the sprayer, squirts John from across the room.

10. 10.

JOHNJOHN(continuing)(continuing)

What the --What the --

KERIKERIBetcha' didn't predict that.Betcha' didn't predict that.

Keri throws John a dishtowel... he dabs at his shirt.Keri throws John a dishtowel... he dabs at his shirt.

JOHNJOHNI'm sixteen, Keri. I should beI'm sixteen, Keri. I should beable to live wherever I want.able to live wherever I want.

KERIKERIAnd I should have a son who callsAnd I should have a son who callsme "Mom". Looks like we're bothme "Mom". Looks like we're bothshit out of luck.shit out of luck.

JOHNJOHNOkay, you win. I'll call you Mom.Okay, you win. I'll call you Mom.Now can I move into the dorms?Now can I move into the dorms?

KERIKERINo.No.

Keri hands John a stack of clean dishes. John doesn'tKeri hands John a stack of clean dishes. John doesn'tbudge...budge...

JOHNJOHNWell, Dad thinks it's okay.Well, Dad thinks it's okay.

KERIKERIYou're father thinks it's okay toYou're father thinks it's okay torun off to Cancun with a blonderun off to Cancun with a blondebimbo in a halter top. Somehowbimbo in a halter top. Somehowhis opinion doesn't count.his opinion doesn't count.

JOHNJOHNI promise not to run off to Cancun.I promise not to run off to Cancun.

KERIKERIForget it.Forget it.

JOHNJOHN(pointing out the(pointing out thekitchen window)kitchen window)

The dorms are only fifty feetThe dorms are only fifty feetaway. You could practically seeaway. You could practically seeinto my window. So, whatinto my window. So, whatdifference does it make?difference does it make?

11. 11.

KERIKERIMy point exactly. See, we bothMy point exactly. See, we bothagree.agree.

Keri takes the dishes back from John, puts them away in anKeri takes the dishes back from John, puts them away in anoverhead cupboard.overhead cupboard.

JOHNJOHNAll right, I was wrong. There isAll right, I was wrong. There isa big difference between roominga big difference between roomingwith your buddies and living withwith your buddies and living withyour mother and school headmaster.your mother and school headmaster.

KERIKERII took the padlock off your door.I took the padlock off your door.What more do you want?What more do you want?

JOHNJOHNMy life is a living hell.My life is a living hell.

Keri raises an eyebrow...Keri raises an eyebrow...

KERIKERIIt's not, trust me.It's not, trust me.

John gives up, heads out of the room...John gives up, heads out of the room...

KERIKERI(continuing)(continuing)

Where are you going?Where are you going?

JOHNJOHNTo the bathroom. Can I do thatTo the bathroom. Can I do thatalone or do you want to watch?alone or do you want to watch?

KERIKERII thought you'd never ask.I thought you'd never ask.

Keri puts her arms around John, escorts him out of theKeri puts her arms around John, escorts him out of thekitchen...kitchen...

JOHNJOHNYou're twisted.You're twisted.

KERIKERII know.I know.

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - DAYEXT. HILLCREST ACADEMY - DAY

Keri moves across campus toward the school, a leatherKeri moves across campus toward the school, a leatherbriefcase slung over one shoulder.briefcase slung over one shoulder.

12. 12.

Passing STUDENTS ad-lib "Hellos," their admiration for KeriPassing STUDENTS ad-lib "Hellos," their admiration for Kerimade evident by their favorable rapport with her.made evident by their favorable rapport with her.

Keri passes in front of --Keri passes in front of --

A ROW OF SCHOOL BUSESA ROW OF SCHOOL BUSES

parked alongside the school. An older bus on the far endparked alongside the school. An older bus on the far endsits empty, hood up.sits empty, hood up.

WALLY BECKETTE, a rather portly man in his early sixties, andWALLY BECKETTE, a rather portly man in his early sixties, andthe school custodian, fiddles with the exposed engine.the school custodian, fiddles with the exposed engine.

KERIKERIWally, you've been under that hoodWally, you've been under that hoodfor months. Why don't we justfor months. Why don't we justcall a mechanic?call a mechanic?

Wally stops what he is doing... comes out from beneath theWally stops what he is doing... comes out from beneath thehood... wipes his hands on his pants.hood... wipes his hands on his pants.

WALLYWALLYMiss Tate, I serviced B-1 BombersMiss Tate, I serviced B-1 Bombersin W-W-2. This here is child'sin W-W-2. This here is child'splay.play.

KERIKERISo you're saying I should call aSo you're saying I should call achild to come give you a hand?child to come give you a hand?

Wally chuckles softly, charmed by Keri like the rest of theWally chuckles softly, charmed by Keri like the rest of thestaff.staff.

WALLYWALLYI'm saying she'll be purring likeI'm saying she'll be purring likea kitten before you know it.a kitten before you know it.

KERIKERIThere's your problem, Walter. YouThere's your problem, Walter. Youdon't want it to purr, you want itdon't want it to purr, you want itto start.to start.

WALLYWALLYAnd she will, Miss Tate. She will.And she will, Miss Tate. She will.

Keri continues toward the school. Wally watches withKeri continues toward the school. Wally watches withadmiration as she heads into the building...admiration as she heads into the building...

WALLYWALLY(continuing)(continuing)

Mmmm-mmm. If they had teachersMmmm-mmm. If they had teacherslike you when I was a boy, I'd belike you when I was a boy, I'd bea rocket scientist.a rocket scientist.

13. 13.

Wally goes back to tinkering with the engine...Wally goes back to tinkering with the engine...

ON HATTIE SMITH, mid-sixties, dressed in a guard uniform...ON HATTIE SMITH, mid-sixties, dressed in a guard uniform...approaches Keri, looking very official... holds a key in herapproaches Keri, looking very official... holds a key in herhand.hand.

KERIKERIGood morning, Hattie.Good morning, Hattie.

HATTIEHATTIEWent into town. Had thatWent into town. Had thatduplicate key made.duplicate key made.

Hattie hands Keri the key.Hattie hands Keri the key.

KERIKERIThank you.Thank you.

Hattie extends an open hand.Hattie extends an open hand.

HATTIEHATTIEThank me with two bucks.Thank me with two bucks.

KERIKERIOh... right.Oh... right.

Keri digs through her pocket, produces a handful of change...Keri digs through her pocket, produces a handful of change...gives it to Hattie.gives it to Hattie.

HATTIEHATTIE(dripping sarcasm)(dripping sarcasm)

Just what I wanted... more change.Just what I wanted... more change.

Hattie heads back toward the guard house, turns back toHattie heads back toward the guard house, turns back toKeri --Keri --

HATTIEHATTIE(continuing)(continuing)

And next time you lose a gate key,And next time you lose a gate key,young lady, you'll be climbingyoung lady, you'll be climbingyour way out of here.your way out of here.

Keri holds the key to her chest.Keri holds the key to her chest.

KERIKERII'll be more careful next time.I'll be more careful next time.

Hattie dismisses Keri with a wave of her hand, continuesHattie dismisses Keri with a wave of her hand, continuesacross campus to the guard house.across campus to the guard house.

14. 14.

Keri smiles, places the key in her pocket and disappearsKeri smiles, places the key in her pocket and disappearsinside the school...inside the school...

CUT TO:CUT TO:

EXT. JIMMY'S HOUSE - AFTERNOONEXT. JIMMY'S HOUSE - AFTERNOON

Pouring rain. In stark contrast to the sunny campus ofPouring rain. In stark contrast to the sunny campus ofHillcrest...Hillcrest...

EMERGENCY VEHICLES litter the landscape, lights FLASHING.EMERGENCY VEHICLES litter the landscape, lights FLASHING.

OFFICERS wrap yellow crime scene tape around the perimeter,OFFICERS wrap yellow crime scene tape around the perimeter,keeping curious NEIGHBORS at bay...keeping curious NEIGHBORS at bay...

RICHARD CARTERRICHARD CARTER

a middle-aged police detective, eyes bloodshot from tooa middle-aged police detective, eyes bloodshot from toolittle sleep and one too many hours in front of a computerlittle sleep and one too many hours in front of a computerscreen, emerges from a dark Sedan... a lit cigarette danglesscreen, emerges from a dark Sedan... a lit cigarette danglesloosely from his lips.loosely from his lips.

Carter approaches a young OFFICER standing outside the frontCarter approaches a young OFFICER standing outside the frontdoor --door --

CARTERCARTER(flashes his badge)(flashes his badge)

Detective Richard Carter,Detective Richard Carter,Haddonfield P.D. Detective BlakeHaddonfield P.D. Detective Blakecalled my office...called my office...

The Officer motions to the door --The Officer motions to the door --

OFFICEROFFICERGo on in. She's been waiting forGo on in. She's been waiting foryou.you.

Carter heads towards the door, the Officer grabs his arm...Carter heads towards the door, the Officer grabs his arm...

OFFICEROFFICER(continuing)(continuing)

You might need this...You might need this...

The Officer offers him a small jar of petroleum jelly. CarterThe Officer offers him a small jar of petroleum jelly. Carterwaves it away.waves it away.

OFFICEROFFICER(continuing)(continuing)

Some serious shit in there,Some serious shit in there,Detective.Detective.

Carter reconsiders, smears the Vaseline under each nostril...Carter reconsiders, smears the Vaseline under each nostril...heads for the house.heads for the house.

15. 15.

INT. JIMMY'S HOUSEINT. JIMMY'S HOUSE

Carter crosses through the front door, watches asCarter crosses through the front door, watches as

A TEAM of latex-gloved FORENSIC SPECIALISTSA TEAM of latex-gloved FORENSIC SPECIALISTS

dust door and windows for fingerprints, swab at blood drops,dust door and windows for fingerprints, swab at blood drops,and collect carpet fibers for later analysis...and collect carpet fibers for later analysis...

Carter crosses into the living room, winces atCarter crosses into the living room, winces at

PAMELA WHITTINGTONPAMELA WHITTINGTON

sprawled across the floor in front of blood-soakedsprawled across the floor in front of blood-soakedcurtains... the wrought-iron poker jammed up her nose, exitscurtains... the wrought-iron poker jammed up her nose, exitsthrough the top of her skull... a kitchen knife lies besidethrough the top of her skull... a kitchen knife lies besideher...her...

Carter takes another hit off the cigarette, blows smoke intoCarter takes another hit off the cigarette, blows smoke intothe room...the room...

VOICE (O.S.)VOICE (O.S.)Double homicide.Double homicide.

Carter turns to seeCarter turns to see

TONI BLAKETONI BLAKE

standing behind him... mid-twenties, attractive yetstanding behind him... mid-twenties, attractive yetapproachable...approachable...

BLAKEBLAKEHer name's Pamela Whittington,Her name's Pamela Whittington,next door neighbor to victimnext door neighbor to victimnumber two... James Howell.number two... James Howell.

Carter motions in the direction of the den whereCarter motions in the direction of the den where

A CRIME SCENE PHOTOGRAPHERA CRIME SCENE PHOTOGRAPHER

takes snapshots of the teenage corpse.takes snapshots of the teenage corpse.

CARTERCARTERLet me guess... he's the guy withLet me guess... he's the guy withthe hockey skate for a nose ring.the hockey skate for a nose ring.

BLAKEBLAKE

crosses to Carter, extends a dixie cup in his direction --crosses to Carter, extends a dixie cup in his direction --

CARTERCARTERNo thanks, I'm not thirsty.No thanks, I'm not thirsty.

16. 16.

BLAKEBLAKEIt's for your cigarette. I preferIt's for your cigarette. I prefernot to contaminate my crime scenenot to contaminate my crime scenewith micropollutants.with micropollutants.

Carter takes a final puff off the cigarette, drops it intoCarter takes a final puff off the cigarette, drops it intothe cup...the cup...

CARTERCARTERWhy am I here?Why am I here?

BLAKEBLAKEThey said on the phone you wereThey said on the phone you wereassigned to the Meyers case.assigned to the Meyers case.

CARTERCARTERWith all due respect, detective,With all due respect, detective,you can't go blaming every brutalyou can't go blaming every brutalmurder in Illinois on Michaelmurder in Illinois on MichaelMeyers.Meyers.

BLAKEBLAKEPamela Whittington was a long timePamela Whittington was a long timeassociate of Dr. Loomis. Her homeassociate of Dr. Loomis. Her homeoffice was ransacked. It wasoffice was ransacked. It waschock full of Loomis' files onchock full of Loomis' files onMeyers. It'd say that makesMeyers. It'd say that makesMeyers a suspect, wouldn't you?Meyers a suspect, wouldn't you?

CARTERCARTERWell, when you put it that way.Well, when you put it that way.

BLAKEBLAKERight. So why don't we get onRight. So why don't we get onwith this investigation?with this investigation?

CARTERCARTERI like a woman who takes control.I like a woman who takes control.

Blake ignores the comment, crosses to the front door...Blake ignores the comment, crosses to the front door...Carter follows.Carter follows.

During the following dialogue, Blake walks Carter through theDuring the following dialogue, Blake walks Carter through thecrime scene reenacting the prior evening's brutal events...crime scene reenacting the prior evening's brutal events...

BLAKEBLAKEPamela entered the house andPamela entered the house andwalked into the den where shewalked into the den where shediscovers James Howell's body...discovers James Howell's body...

Carter and Blake stand in front of the mutilated face of theCarter and Blake stand in front of the mutilated face of theteenage boy...teenage boy...

17. 17.

BLAKEBLAKE(continuing)(continuing)

Shaken, she returns to the frontShaken, she returns to the frontdoor to find the hutch blockingdoor to find the hutch blockingher exit...her exit...

ON gouges across the wood planks, forming tracks from theON gouges across the wood planks, forming tracks from thedining room to the front door...dining room to the front door...

BLAKEBLAKE(continuing)(continuing)

She runs to the kitchen, where sheShe runs to the kitchen, where sheis ambushed at the back door byis ambushed at the back door bythe killer.the killer.

Carter and Blake stand in front of the door, which is stillCarter and Blake stand in front of the door, which is stillopen. Carter kneels down, looks at the kitchen floor...open. Carter kneels down, looks at the kitchen floor...

CARTERCARTEROne set of muddy shoe prints.One set of muddy shoe prints.

BLAKEBLAKEThat don't match either of theThat don't match either of thevictim's.victim's.

Carter stands up, moves to a butcher block on the counter...Carter stands up, moves to a butcher block on the counter...he's starting to enjoy this dance --he's starting to enjoy this dance --

CARTERCARTERShe grabs a knife from the butcherShe grabs a knife from the butcherblock.block.

ON the butcher block, an empty slot where the knife onceON the butcher block, an empty slot where the knife onceresided...resided...

BLAKEBLAKEHeads to the living room...Heads to the living room...

They cross back into the living room...They cross back into the living room...

Carter moves to theCarter moves to the

WINDOWWINDOW

covered in fingerprint powder, exposing a plethora of prints.covered in fingerprint powder, exposing a plethora of prints.

CARTERCARTERWhere, judging by the looks of theWhere, judging by the looks of thefinger and palm prints, shefinger and palm prints, shestruggles to open the windowstruggles to open the windowbefore banging on it like hell.before banging on it like hell.

18. 18.

BLAKEBLAKEUnable to escape, she turns andUnable to escape, she turns andattacks the killer, but doesn'tattacks the killer, but doesn'tconnect.connect.

CARTERCARTERNo blood on the knife.No blood on the knife.

ON the knife, clean as a whistle...ON the knife, clean as a whistle...

CARTERCARTER(continuing)(continuing)

The killer knocks the knife out ofThe killer knocks the knife out ofher hand with the wrought-ironher hand with the wrought-ironpoker.poker.

BLAKEBLAKEBroken blood vessels on her rightBroken blood vessels on her rightforearm.forearm.

ON Pamela's arm, a bruise forming under the skin...ON Pamela's arm, a bruise forming under the skin...

CARTERCARTERAs which point she drops to herAs which point she drops to herknees in pain...knees in pain...

BLAKEBLAKEExplaining the low height of theExplaining the low height of theblood splatter on the curtains...blood splatter on the curtains...

ON the curtains, blood stained four feet and below...ON the curtains, blood stained four feet and below...

CARTERCARTERImpressive, Blake. Where'd youImpressive, Blake. Where'd youlearn how to do that?learn how to do that?

BLAKEBLAKEGirl scouts.Girl scouts.

Carter chuckles... she has a sense of humor, too...Carter chuckles... she has a sense of humor, too...

CUT TO:CUT TO:

INT. SCHOOL - HALLWAY - AFTERNOONINT. SCHOOL - HALLWAY - AFTERNOON

A BELL RINGS.A BELL RINGS.

The hallway is flooded with STUDENTS, books in tow...The hallway is flooded with STUDENTS, books in tow...

ON MOLLY CARTWRIGHTON MOLLY CARTWRIGHT

a young seventeen, friendly eyes and a face to match.a young seventeen, friendly eyes and a face to match.

19. 19.

Walking beside her is...Walking beside her is...

LINDA KANG, same age, unconcerned, full of spunk... multipleLINDA KANG, same age, unconcerned, full of spunk... multiplebody piercings, doesn't quite fit in here or anywhere...body piercings, doesn't quite fit in here or anywhere...

LINDALINDAYou aced it, didn't you?You aced it, didn't you?

MOLLYMOLLYI did all right.I did all right.

Linda grabs Molly's test, peeking out from her biology book...Linda grabs Molly's test, peeking out from her biology book...

LINDALINDAFuckin' A.Fuckin' A.

MOLLYMOLLYHe gave me a fuckin' A? Wow.He gave me a fuckin' A? Wow.

Linda punches Molly playfully in the arm. They stop atLinda punches Molly playfully in the arm. They stop atneighboring lockers, retrieve books from inside...neighboring lockers, retrieve books from inside...

AMY KRAMER approaches, book pressed against an ample chest,AMY KRAMER approaches, book pressed against an ample chest,smacking on a wad of gum...smacking on a wad of gum...

Eye-catching good looks, a real stunner... a bit short on theEye-catching good looks, a real stunner... a bit short on thegray matter though --gray matter though --

AMYAMYThese lockers are totally girlThese lockers are totally girlunfriendly.unfriendly.

MOLLYMOLLYBreak another nail?Break another nail?

AMYAMYPointer finger. And the dance isPointer finger. And the dance isin two days...in two days...

LINDALINDALife's a bitch.Life's a bitch.

The girls head down the hall...The girls head down the hall...

AMYAMYEddie's working late at Freeman'sEddie's working late at Freeman'stonight... all alone.tonight... all alone.

MOLLYMOLLYI thought Eddie left for N.Y.U.?I thought Eddie left for N.Y.U.?

20. 20.

AMYAMYGuess he couldn't tear himselfGuess he couldn't tear himselfaway from me.away from me.

LINDALINDAGuess he couldn't pass admissions.Guess he couldn't pass admissions.

AMYAMYShut up, pinhead.Shut up, pinhead.

John approaches them from behind, drapes his arms aroundJohn approaches them from behind, drapes his arms aroundMolly...Molly...

JOHNJOHNThere you are.There you are.

(to Amy)(to Amy)You tell 'em about tonight?You tell 'em about tonight?

AMYAMYI just got here.I just got here.

John removes a key from his jacket pocket, drops it inJohn removes a key from his jacket pocket, drops it inMolly's hand...Molly's hand...

MOLLYMOLLYWhat's this?What's this?

LINDALINDAYou say, "The key to my heart,"You say, "The key to my heart,"and I'm gonna hurl.and I'm gonna hurl.

JOHNJOHNShelve the barf bag. It's the keyShelve the barf bag. It's the keyto the main gate.to the main gate.

MOLLYMOLLYWhere'd you get it?Where'd you get it?

JOHNJOHNSwiped it from my mom's deskSwiped it from my mom's deskyesterday.yesterday.

MOLLYMOLLYYou stole it?You stole it?

JOHNJOHNI borrowed it.I borrowed it.

AMYAMYParty at Freeman's tonight.Party at Freeman's tonight.

21. 21.

LINDALINDAI am in need of some seriousI am in need of some seriouspartying.partying.

MOLLYMOLLYNot me.Not me.

JOHNJOHNWhy not?Why not?

MOLLYMOLLYI can't afford to get caught.I can't afford to get caught.

LINDALINDAMolly, you're the residentMolly, you're the residentassistant. What are you gonna do,assistant. What are you gonna do,narc on yourself?narc on yourself?

THE BELL RINGS.THE BELL RINGS.

Students clear the hall, move inside their classrooms.Students clear the hall, move inside their classrooms.

John kisses Molly on the lips...John kisses Molly on the lips...

JOHNJOHNJust meet me in front of the gateJust meet me in front of the gateafter lights out.after lights out.

He takes off down the hall --He takes off down the hall --

MOLLYMOLLY(calling after him)(calling after him)

Wait... John...Wait... John...

He's gone. A teacher guides the girls inside a classroom andHe's gone. A teacher guides the girls inside a classroom andshuts the door...shuts the door...

CUT TO:CUT TO:

INT. GYMNASIUM - AFTERNOONINT. GYMNASIUM - AFTERNOON

A bevy of STUDENTS scurry about the gym making finalA bevy of STUDENTS scurry about the gym making finalpreparations for the impending Halloween Festivals: hangingpreparations for the impending Halloween Festivals: hangingdecorations on walls, carving pumpkins, spinning cob websdecorations on walls, carving pumpkins, spinning cob websalong refreshment tables...along refreshment tables...

ON WILL BRENNEN, a well-favored Chemistry teacher in his mid-ON WILL BRENNEN, a well-favored Chemistry teacher in his mid-forties, thinning hair, more salt than pepper... supervisesforties, thinning hair, more salt than pepper... supervisesthe action... a coffee mug in hand... his attention focusedthe action... a coffee mug in hand... his attention focusedon...on...

22. 22.

KERIKERI

sitting atop the bleachers. Will climbs the benches, sitssitting atop the bleachers. Will climbs the benches, sitsbeside her...beside her...

WILLWILLWhat a sight for sore eyes...What a sight for sore eyes...

He kisses her softly on the lips.He kisses her softly on the lips.

WILLWILL(continuing)(continuing)

... and ears...... and ears...

He kisses her again.He kisses her again.


...and lips......and lips...

He engages her in a lingering kiss.He engages her in a lingering kiss.

A GROUP OF STUDENTSA GROUP OF STUDENTS

point and giggle at the smooching faculty members.point and giggle at the smooching faculty members.

Keri notices, pulls away...Keri notices, pulls away...

KERIKERIWill...Will...

She motions toward the students below.She motions toward the students below.

WILLWILLWhat? They've all taken sex ed.What? They've all taken sex ed.

He leans in for another kiss, she playfully keeps him at armsHe leans in for another kiss, she playfully keeps him at armslength...length...

KERIKERIAnd this isn't the place for aAnd this isn't the place for alive demonstration.live demonstration.

Will relents, settles for holding Keri's hand...Will relents, settles for holding Keri's hand...

WILLWILLAren't they doing a terrific jobAren't they doing a terrific jobthis year?this year?

KERIKERI(distracted)(distracted)

Looks great. It does.Looks great. It does.

23. 23.

WILLWILLYou okay? You seem a little off.You okay? You seem a little off.

KERIKERINothing a good stiff drink can'tNothing a good stiff drink can'tfix.fix.

Will doesn't find the humor, eyes her uneasily.Will doesn't find the humor, eyes her uneasily.


That one always goes over big atThat one always goes over big atthe AA meetings.the AA meetings.

An awkward beat, then...An awkward beat, then...

WILLWILLIt's John, isn't it?It's John, isn't it?

KERIKERIIt's always John.It's always John.

WILLWILLStill wants to move out?Still wants to move out?

KERIKERIHe's been living out of movingHe's been living out of movingboxes for three months.boxes for three months.

WILLWILLThis kid just wants his freedom.This kid just wants his freedom.

KERIKERIIt's not going to happen.It's not going to happen.

WILLWILLThe tighter you squeeze, theThe tighter you squeeze, theharder he'll try to break free.harder he'll try to break free.

KERIKERIOh, please... you get that out ofOh, please... you get that out ofa fortune cookie?a fortune cookie?

WILLWILLDoesn't make it bad advice.Doesn't make it bad advice.

Keri manages a smile...Keri manages a smile...


God I love that smile.God I love that smile.

Keri stands. Will follows suit.Keri stands. Will follows suit.

24. 24.

KERIKERII'm going into town... run a fewI'm going into town... run a fewerrands before dark. Neederrands before dark. Needanything?anything?

WILLWILLA box of fortune cookies... I'mA box of fortune cookies... I'mrunning out of advice.running out of advice.

KERIKERIBye Will.Bye Will.

Keri heads down the bleachers. Will watches her leave,Keri heads down the bleachers. Will watches her leave,completely enamored...completely enamored...

CUT TO:CUT TO:

INT. NIELSEN'S MARKET - LATE AFTERNOONINT. NIELSEN'S MARKET - LATE AFTERNOON

A family-owned grocery mart in the heart of Ferndale. A half-A family-owned grocery mart in the heart of Ferndale. A half-dozen CUSTOMERS mingle through the aisles.dozen CUSTOMERS mingle through the aisles.

ON Keri, standing in front of a CASHIER as he rings up aON Keri, standing in front of a CASHIER as he rings up adozen items...dozen items...

Keri glances at the wall of tabloids in front of her, one ofKeri glances at the wall of tabloids in front of her, one ofthem catches her eye --them catches her eye --

CLOSE ON: THE GLOBECLOSE ON: THE GLOBE

A headline reads: "SERIAL KILLER MICHAEL MEYERS REALLY ALIENA headline reads: "SERIAL KILLER MICHAEL MEYERS REALLY ALIENFROM OUTER SPACE." Beneath the headline is a mock photo ofFROM OUTER SPACE." Beneath the headline is a mock photo ofthe Shape, holding the infamous mask in his hand, revealingthe Shape, holding the infamous mask in his hand, revealingan alien head underneath....an alien head underneath....

Keri can't help but smirk at the absurdity of it all. TheKeri can't help but smirk at the absurdity of it all. Thecashier hands Keri her change...cashier hands Keri her change...

CASHIERCASHIERHappy Halloween.Happy Halloween.

Keri manages a polite smile, and exits...Keri manages a polite smile, and exits...

CUT TO:CUT TO:

EXT. NIELSEN'S MARKET - MINUTES LATEREXT. NIELSEN'S MARKET - MINUTES LATER

Keri moves down the tree-lined street, groceries tuckedKeri moves down the tree-lined street, groceries tuckedsecurely under her arm.securely under her arm.

She pauses at a storefront window. "KESSLER JEWELERS. EST.She pauses at a storefront window. "KESSLER JEWELERS. EST.1963" emblazoned across the glass.1963" emblazoned across the glass.

25. 25.

ANGLE ON WINDOWANGLE ON WINDOW

An assortment of wedding rings glimmer behind the glass.An assortment of wedding rings glimmer behind the glass.

KERIKERI

holds her left hand up to the window, moving it slowly fromholds her left hand up to the window, moving it slowly fromring to ring... then she sees --ring to ring... then she sees --

THE SHAPETHE SHAPE

in the reflection... standing across the street, staringin the reflection... standing across the street, staringright through her... taunting her. This is no alien...right through her... taunting her. This is no alien...

KERI'SKERI'S

heart stops... she stands frozen, totally immobile.heart stops... she stands frozen, totally immobile.

A TRUCKA TRUCK

passes between them.passes between them.

KERIKERI

takes this opportunity to spin around. The truck passes --takes this opportunity to spin around. The truck passes --

THE SHAPE HAS VANISHED.THE SHAPE HAS VANISHED.

KERIKERII hate this fucking holiday...I hate this fucking holiday...

Keri climbs into the driver's seat of her Ford Explorer,Keri climbs into the driver's seat of her Ford Explorer,tosses the bag of groceries on the passenger seat...tosses the bag of groceries on the passenger seat...

She starts the engine...She starts the engine...

"MR. SANDMAN" blares over the radio... scares the shit out of"MR. SANDMAN" blares over the radio... scares the shit out ofher. Keri quickly changes stations... heads back to theher. Keri quickly changes stations... heads back to theschool.school.

CUT TO:CUT TO:

INT. CARTER'S APARTMENT - NIGHTINT. CARTER'S APARTMENT - NIGHT

Sparsely decorated. Scattered Chinese food containers litterSparsely decorated. Scattered Chinese food containers litterthe counters.the counters.

On a glass dining room table, a table dozen cardboard boxes,On a glass dining room table, a table dozen cardboard boxes,"DR. LOOMIS" in black sharpie scrawled across their sides."DR. LOOMIS" in black sharpie scrawled across their sides.

The CAMERA PANS across the table where...The CAMERA PANS across the table where...

26. 26.

CARTERCARTER

sits, eyes glazed over... shuffling through a stack ofsits, eyes glazed over... shuffling through a stack ofphotographs.photographs.

ON THE PHOTOGRAPHSON THE PHOTOGRAPHS

Of a young Michael Meyers playing with a fire truck in theOf a young Michael Meyers playing with a fire truck in theden... running through sprinklers in the backyard... ridingden... running through sprinklers in the backyard... ridinghorses at the county fair... no signs of the evil lurkinghorses at the county fair... no signs of the evil lurkinginside.inside.

CARTER sets the photographs aside, digs through a file box...CARTER sets the photographs aside, digs through a file box...pulls out a film canister marked "MEYERS' HOME MOVIES."pulls out a film canister marked "MEYERS' HOME MOVIES."

ON A PROJECTORON A PROJECTOR

CARTER threads the Super 8 film through it, turns it on...CARTER threads the Super 8 film through it, turns it on...images of a young Michael Meyers are projected on a bare wallimages of a young Michael Meyers are projected on a bare wallin the darkened room.in the darkened room.

CARTER settles into the recliner, fights to stay awake...CARTER settles into the recliner, fights to stay awake...

THE SHAPE APPEARS IN FRONT OF THE WALL.THE SHAPE APPEARS IN FRONT OF THE WALL.

The home movies projected on his pale mask. He moves slowlyThe home movies projected on his pale mask. He moves slowlytoward the sleeping CARTER, a knife in his grip.toward the sleeping CARTER, a knife in his grip.

The SHAPE raises the knife to CARTER's throat, slices it fromThe SHAPE raises the knife to CARTER's throat, slices it fromear to ear. CARTER grabs his throat, blood gushes throughear to ear. CARTER grabs his throat, blood gushes throughhis fingers. Then...his fingers. Then...

THE TELEPHONE RINGS.THE TELEPHONE RINGS.

CARTER WAKES UP.CARTER WAKES UP.

Gasps for air... he feels for his throat... no blood, all isGasps for air... he feels for his throat... no blood, all iswell.well.

The Super 8 films slaps against the projector, the reel nowThe Super 8 films slaps against the projector, the reel nowover...over...

CARTER catches his breath... surveys the room... he is alone.CARTER catches his breath... surveys the room... he is alone.He picks up the phone --He picks up the phone --

CARTERCARTER(into phone)(into phone)

Carter.Carter.

BLAKEBLAKEIt's Blake. Meet me at Grand View.It's Blake. Meet me at Grand View.

27. 27.

CARTERCARTERWhere?Where?

BLAKEBLAKEThe cemetery...The cemetery...

CARTERCARTERYeah, all right... I'll be thereYeah, all right... I'll be therein ten.in ten.

Carter hangs up the phone, massages his throat...Carter hangs up the phone, massages his throat...

CUT TO:CUT TO:

INT. FREEMAN'S DRUGSTORE - NIGHTINT. FREEMAN'S DRUGSTORE - NIGHT

CLOSE ON THE PALE WHITE HALLOWEEN MASKCLOSE ON THE PALE WHITE HALLOWEEN MASK

CAMERA PULLS BACK TO REVEAL a mannequin sporting the mask andCAMERA PULLS BACK TO REVEAL a mannequin sporting the mask anddark overalls made notorious by Michael Meyers... its armdark overalls made notorious by Michael Meyers... its armposed high in the air, wielding a meat cleaver.posed high in the air, wielding a meat cleaver.

Gathered around the mannequin is the gang:Gathered around the mannequin is the gang:

Linda is in the arms of her boyfriend, SHANE McCLOUD... aLinda is in the arms of her boyfriend, SHANE McCLOUD... atall and spindly teen, book smart and street dumb...tall and spindly teen, book smart and street dumb...

John riffles through a rack of Halloween costumes. MollyJohn riffles through a rack of Halloween costumes. Mollyleans against a nearby counter... she checks her watch,leans against a nearby counter... she checks her watch,visibly uncomfortable being here at all.visibly uncomfortable being here at all.

EDDIE CATERO, two years out of high school and still wearingEDDIE CATERO, two years out of high school and still wearinghis letterman jacket, 'Nuff said.his letterman jacket, 'Nuff said.

He stands proudly by his display, nursing a beer... his armHe stands proudly by his display, nursing a beer... his armdraped around Amy, who's painting her nails with a naildraped around Amy, who's painting her nails with a nailpolish plucked from a nearby display...polish plucked from a nearby display...

EDDIEEDDIE(re: the display)(re: the display)

Pretty wicked, huh?Pretty wicked, huh?

LINDALINDAI think it's twisted.I think it's twisted.

EDDIEEDDIEThis coming from the girl with aThis coming from the girl with astake through her tongue.stake through her tongue.

LINDALINDAYou're glorifying the big creep.You're glorifying the big creep.

28. 28.

SHANESHANEBesides, it's historicallyBesides, it's historicallyinaccurate.inaccurate.

EDDIEEDDIEWhat the fuck are you talkingWhat the fuck are you talkingabout?about?

SHANESHANEMichael Meyers never used a meatMichael Meyers never used a meatcleaver. It was a butcher knife.cleaver. It was a butcher knife.

EDDIEEDDIEWho are you, the serial killerWho are you, the serial killerpolice? What difference does itpolice? What difference does itmake?make?

SHANESHANEIt's not historically accurate,It's not historically accurate,that's all.that's all.

AMYAMYHe could be holding a swizzleHe could be holding a swizzlestick, it still gives me thestick, it still gives me thewillies.willies.

JOHNJOHNDon't worry... I hear he onlyDon't worry... I hear he onlykills virgins.kills virgins.

SHANESHANEAnother historical inaccuracy.Another historical inaccuracy.

EDDIEEDDIEWould somebody shut this guy up?Would somebody shut this guy up?

MOLLYMOLLYCome on, we better get back beforeCome on, we better get back beforeMrs. Sullivan makes her rounds.Mrs. Sullivan makes her rounds.

Linda looks at her watch.Linda looks at her watch.

LINDALINDAOh, shit. Molly's right. It'sOh, shit. Molly's right. It'seleven-thirty.eleven-thirty.

The gang heads for the front door...The gang heads for the front door...

AMYAMYYou guys go on. Eddie's gonnaYou guys go on. Eddie's gonnatake me back after he closes up.take me back after he closes up.

29. 29.

Bells hanging from the door JINGLE as they exit... JohnBells hanging from the door JINGLE as they exit... Johnturns to them as he leaves --turns to them as he leaves --

JOHNJOHNCondoms are on aisle four...Condoms are on aisle four...

EDDIEEDDIEOut.Out.

Eddie pushes John out the door, shuts it behind him...Eddie pushes John out the door, shuts it behind him...

EXT. FREEMAN'S DRUGSTOREEXT. FREEMAN'S DRUGSTORE

The group moves down the deserted street, headed forThe group moves down the deserted street, headed forHillcrest. John's arm around Molly. Shane's around Linda...Hillcrest. John's arm around Molly. Shane's around Linda...

CUT TO:CUT TO:

INT. FREEMAN'S DRUGSTOREINT. FREEMAN'S DRUGSTORE

ON A "CLOSED" SIGNON A "CLOSED" SIGN

Being hung on the front door.Being hung on the front door.

CAMERA PULLS BACK TO REVEAL Amy, holds up her newly polishedCAMERA PULLS BACK TO REVEAL Amy, holds up her newly polishednails to Eddie...nails to Eddie...

AMYAMYHow do you like the color? It'sHow do you like the color? It'scalled "Bloodshed Red."called "Bloodshed Red."

EDDIEEDDIEYeah, yeah... looks good...Yeah, yeah... looks good...

Eddie grabs Amy by the waist, pulls her in... kisses herEddie grabs Amy by the waist, pulls her in... kisses herpassionately.passionately.

EDDIEEDDIE(continuing)(continuing)

Let's go in back and check out theLet's go in back and check out the"inventory.""inventory."

AMYAMYMmmmm, sounds good.Mmmmm, sounds good.

Eddie and Amy head to the --Eddie and Amy head to the --

INT. BACK ROOMINT. BACK ROOM

Eddie and Amy get hot and heavy amongst a room full ofEddie and Amy get hot and heavy amongst a room full ofcardboard boxes, Halloween costumes, and mask...cardboard boxes, Halloween costumes, and mask...

As Eddie prepares to do the one-hand bra release...As Eddie prepares to do the one-hand bra release...

30. 30.

JINGLE-JINGLE.JINGLE-JINGLE.

The bells hung on the front door chime.The bells hung on the front door chime.

EDDIEEDDIEShit. Can't people read? Don'tShit. Can't people read? Don'tmove. I'll be right back.move. I'll be right back.

Eddie exits, leaving behind a half-naked Amy.Eddie exits, leaving behind a half-naked Amy.

INT. FREEMAN'S DRUGSTOREINT. FREEMAN'S DRUGSTORE

Eddie moves toward the front of the store, heads down theEddie moves toward the front of the store, heads down thecenter aisle. He hears the SHUFFLING OF FEET in the aislecenter aisle. He hears the SHUFFLING OF FEET in the aislenext to him...next to him...

EDDIEEDDIE(calling off)(calling off)

Hey, we're closed!Hey, we're closed!

Eddie rounds the corner, runs smack into --Eddie rounds the corner, runs smack into --

THE SHAPE.THE SHAPE.

EDDIEEDDIE(continuing)(continuing)

Shit!Shit!

It's only the mannequin, which isn't where Eddie left it...It's only the mannequin, which isn't where Eddie left it...arm poised high in the air, knife missing.arm poised high in the air, knife missing.

Eddie turns around to see --Eddie turns around to see --

THE SHAPETHE SHAPE

standing right behind him, wielding the meat cleaver. Eddie'sstanding right behind him, wielding the meat cleaver. Eddie'sseeing double...seeing double...

EDDIEEDDIEWhat the hell...What the hell...

The Shape attacks, slices through his skull with the meatThe Shape attacks, slices through his skull with the meatcleaver...cleaver...

INT. BACK ROOM - SAME TIMEINT. BACK ROOM - SAME TIME

As Amy sifts through a box of scary masks, she hears...As Amy sifts through a box of scary masks, she hears...

A SCUFFLEA SCUFFLE

outside the door... she throws on her blouse, peeks outside.outside the door... she throws on her blouse, peeks outside.

31. 31.

AMYAMYEddie?Eddie?

A RUSTLING SOUND.A RUSTLING SOUND.

AMYAMYDamnit, Eddie! Stop foolingDamnit, Eddie! Stop foolingaround.around.

Still nothing... Amy cautiously moves into the store, lookingStill nothing... Amy cautiously moves into the store, lookingfor her missing partner... she passesfor her missing partner... she passes

THE MICHAEL MEYERS MANNEQUINTHE MICHAEL MEYERS MANNEQUIN

AMYAMYIf you think you're gettin' anyIf you think you're gettin' anyafter this, you're dead wrong.after this, you're dead wrong.

She stumbles, looks down to reveal...She stumbles, looks down to reveal...

EDDIEEDDIE

sprawled on the floor, the meat cleaver buried in the middlesprawled on the floor, the meat cleaver buried in the middleof his forehead... eyes wide open in terror!of his forehead... eyes wide open in terror!

Amy SCREAMS... can barely stand... she stumbles to the frontAmy SCREAMS... can barely stand... she stumbles to the frontof the door... it's locked!of the door... it's locked!

The Michael Meyers mannequin behind her comes to life, beginsThe Michael Meyers mannequin behind her comes to life, beginsto move toward her...to move toward her...

Amy beats frantically on the glass door, struggling to freeAmy beats frantically on the glass door, struggling to freethe lock... she turns to see...the lock... she turns to see...

THE SHAPETHE SHAPE

closing in behind her... she SCREAMS.closing in behind her... she SCREAMS.

The SHAPE attacks, grabs Amy by the back of the neck...The SHAPE attacks, grabs Amy by the back of the neck...pushes her face through the glass door, cuts it to bits...pushes her face through the glass door, cuts it to bits...

He lifts Amy high into the air, she struggles to freeHe lifts Amy high into the air, she struggles to freeherself... the Shape impales her body on a large shard ofherself... the Shape impales her body on a large shard ofglass.glass.

ON Amy's feet... dangling a foot off the ground... then...ON Amy's feet... dangling a foot off the ground... then...

Her body goes completely limp... lifeless.Her body goes completely limp... lifeless.

ON Amy's hand... blood cascades down her fingers, matches theON Amy's hand... blood cascades down her fingers, matches theshade of her nail polish...shade of her nail polish...

32. 32.

The SHAPE looks at her breathless body quizzically...The SHAPE looks at her breathless body quizzically...

CUT TO:CUT TO:

EXT. GRAND VIEW CEMETERY - NIGHTEXT. GRAND VIEW CEMETERY - NIGHT

A well manicured graveyard... lush green lawns, thriving oakA well manicured graveyard... lush green lawns, thriving oaktrees, and patches of blooming flowers...trees, and patches of blooming flowers...

FRED WILLIAMS, an elderly caretaker, leads Carter and BlakeFRED WILLIAMS, an elderly caretaker, leads Carter and Blakethrough the darkened cemetery... a flashlight illuminatingthrough the darkened cemetery... a flashlight illuminatingtheir path.their path.

CARTERCARTERYou take all your dates here.You take all your dates here.Blake?Blake?

BLAKEBLAKEOnly the real stiffs.Only the real stiffs.

CARTERCARTERI can be real stiff.I can be real stiff.

BLAKEBLAKECharming.Charming.

FREDFREDHey! Watch my geraniums.Hey! Watch my geraniums.

Carter looks down at his feet, finds himself standing in theCarter looks down at his feet, finds himself standing in themiddle of a group of flowers... he quickly hops back onto themiddle of a group of flowers... he quickly hops back onto thegrass...grass...

FREDFRED(continuing)(continuing)

Beautiful, aren't they? RottingBeautiful, aren't they? Rottingcorpses make the best fertilizer,corpses make the best fertilizer,ya' know. Especially those Irishya' know. Especially those Irishfolk. They push up the daisesfolk. They push up the daiseslike a son-of-a-bitch...like a son-of-a-bitch...

CARTERCARTERI'll remember that.I'll remember that.

FREDFREDHell, I can tell you where everyHell, I can tell you where everyMick is buried by the ground coverMick is buried by the ground covergrowing above 'em.growing above 'em.

Fred shines his flashlight on a distant grave.Fred shines his flashlight on a distant grave.

33. 33.


Irish...Irish...(shining the beam on(shining the beam onanother grave)another grave)

...Irish......Irish...

They stop in front of a gravesite... TOMBSTONE missing...They stop in front of a gravesite... TOMBSTONE missing...patchy grass covers the grave.patchy grass covers the grave.


Never could get anything to growNever could get anything to growcover this one...cover this one...

BLAKEBLAKEAnd you're sure this is LaurieAnd you're sure this is LaurieStrode's grave?Strode's grave?

FREDFREDSure as I'm standing here.Sure as I'm standing here.

Fred shines the beam of the flashlight on an adjacentFred shines the beam of the flashlight on an adjacentheadstone...headstone...


Buried her daughter right next toBuried her daughter right next toher not too long ago. You don'ther not too long ago. You don'tsuppose that Meyers fella took thesuppose that Meyers fella took thetombstone?tombstone?

CARTERCARTERProbably just a couple of kidsProbably just a couple of kidsplaying a Halloween prank.playing a Halloween prank.

BLAKEBLAKETee-peeing a house, yes. A bag ofTee-peeing a house, yes. A bag ofburning shit on a porch, maybe.burning shit on a porch, maybe.Digging up tombstone? I don'tDigging up tombstone? I don'tthink so.think so.

Carter shrugs his shoulders, take a drag off his cigarette.Carter shrugs his shoulders, take a drag off his cigarette.

CARTERCARTERI'm going to bed.I'm going to bed.

Carter heads back to his car. Blake runs after him...Carter heads back to his car. Blake runs after him...

BLAKEBLAKEThat's it?That's it?

34. 34.

CARTERCARTERCare to join me?Care to join me?

BLAKEBLAKECome on, Carter. You know it'sCome on, Carter. You know it'sMichael.Michael.

CARTERCARTERWhat do you want me to do, put outWhat do you want me to do, put outan A.P.B. on a man in overallsan A.P.B. on a man in overallswearing a white mask dragging awearing a white mask dragging aheadstone?headstone?

BLAKEBLAKEYes.Yes.

CARTERCARTERSweet dreams, Blake.Sweet dreams, Blake.

Carter climbs into his car, heads for home...Carter climbs into his car, heads for home...

CUT TO:CUT TO:

INT. BEDROOM - NIGHTINT. BEDROOM - NIGHT

Keri tosses and turns in her bed, unable to exorcise theKeri tosses and turns in her bed, unable to exorcise thedemons from her mind... eyes wide open, watches the moonlightdemons from her mind... eyes wide open, watches the moonlightcast the shadows of dancing leaves on the ceiling above her...cast the shadows of dancing leaves on the ceiling above her...

Then, the shadow of something altogether unnatural appearsThen, the shadow of something altogether unnatural appearsabove her...above her...

THE SHADOW OF A MANTHE SHADOW OF A MAN

hair tattered and tousled by the wind.hair tattered and tousled by the wind.

ON Keri lying frozen in fear, eyes unblinking.ON Keri lying frozen in fear, eyes unblinking.

THE SILHOUETTETHE SILHOUETTE

grows larger, nearly engulfs the entire ceiling... thengrows larger, nearly engulfs the entire ceiling... thensuddenly disappears from view... the dancing leaves return.suddenly disappears from view... the dancing leaves return.

CLANK!CLANK!

A noise from outside her window. FOOTSTEPS quickly makeA noise from outside her window. FOOTSTEPS quickly maketheir way around the house...their way around the house...

Keri jumps out of her skin, holds her breath...Keri jumps out of her skin, holds her breath...

A JIGGLING SOUND emanates from the living room, as ifA JIGGLING SOUND emanates from the living room, as ifsomeone's trying to get in through the front door...someone's trying to get in through the front door...

35. 35.

Keri jumps out of her bed, slides a metal box out from underKeri jumps out of her bed, slides a metal box out from underthe bed... pulls a SMITH AND WESSON from inside... headsthe bed... pulls a SMITH AND WESSON from inside... headsfor --for --

INT. LIVING ROOMINT. LIVING ROOM

Keri moves silently through the hallway into the living room,Keri moves silently through the hallway into the living room,gun at the ready... hands trembling... eyes locked on thegun at the ready... hands trembling... eyes locked on thefront door as --front door as --

THE DOORKNOBTHE DOORKNOB

slowly twists and turns... the SHADOW of a man behind theslowly twists and turns... the SHADOW of a man behind thecurtain of the window flanking the side of the door.curtain of the window flanking the side of the door.

KERIKERI

raises the gun... uses both hands to steady her aim... herraises the gun... uses both hands to steady her aim... herbreathing becoming more shallow with each passing second...breathing becoming more shallow with each passing second...

THE DOORTHE DOOR

swings open revealing...swings open revealing...

JOHNJOHN

house key in hand... busted.house key in hand... busted.

KERIKERI

lowers the gun, fights back in tears...lowers the gun, fights back in tears...

John closes the door... if he's surprised that his mother'sJohn closes the door... if he's surprised that his mother'spointing a gun in his face, he doesn't show it...pointing a gun in his face, he doesn't show it...

KERIKERIShit, John! What the hell wereShit, John! What the hell wereyou doing out there?!you doing out there?!

JOHNJOHNNothing.Nothing.

KERIKERIYou're kidding with that answer,You're kidding with that answer,right?right?

JOHNJOHNI just went for a walk. It's noI just went for a walk. It's nobig deal.big deal.

36. 36.

KERIKERIWrong. There are rules in thisWrong. There are rules in thishouse and you're going to followhouse and you're going to followthem whether you like it or not.them whether you like it or not.

JOHNJOHNOr what? You're gonna shoot me?Or what? You're gonna shoot me?

KERIKERIIt's an option.It's an option.

JOHNJOHNWell, maybe if you'd let me liveWell, maybe if you'd let me livein the dorms, I wouldn't have toin the dorms, I wouldn't have tosneak out to spend time with mysneak out to spend time with myfriends.friends.

KERIKERIOh, so now it's my fault?Oh, so now it's my fault?

JOHNJOHNJust forget it...Just forget it...

John storms down the hall, disappears into his bedroom...John storms down the hall, disappears into his bedroom...slams the door behind him.slams the door behind him.

CUT TO:CUT TO:

INT. BEDROOM - MINUTES LATERINT. BEDROOM - MINUTES LATER

Keri enters the room, passes by the window... glances outKeri enters the room, passes by the window... glances outinto the night and sees --into the night and sees --

THE SHAPETHE SHAPE

standing between sheets that blow in the clothesline.standing between sheets that blow in the clothesline.

KERIKERI

closes her eyes, takes a deep breath... opens them... nowcloses her eyes, takes a deep breath... opens them... nowboth the Shape and the sheets blowing in the clothesline haveboth the Shape and the sheets blowing in the clothesline haveVANISHED.VANISHED.

CUT TO:CUT TO:

INT. CLASSROOM - MORNINGINT. CLASSROOM - MORNING

Keri substituting for the absentee English Lit teacher. Mr.Keri substituting for the absentee English Lit teacher. Mr.Elliot.Elliot.

A STUDENT has just finished her oral report and heads back toA STUDENT has just finished her oral report and heads back toher seat.her seat.

37. 37.

Keri stands, crosses to the chalkboard --Keri stands, crosses to the chalkboard --

KERIKERII'm sure Mr. Elliot will go overI'm sure Mr. Elliot will go overthis when he returns on Monday,this when he returns on Monday,but Julie hit on a very importantbut Julie hit on a very importantaspect of Virgil's "The Aeniad."aspect of Virgil's "The Aeniad."

She scrawls the word "FATE" across its surface...She scrawls the word "FATE" across its surface...


F-A-T-E. Fate. The RomansF-A-T-E. Fate. The Romansbelieved in the three goddesses ofbelieved in the three goddesses ofFate, called "the Fate." Nona,Fate, called "the Fate." Nona,Decuma, and Morta. TheseDecuma, and Morta. Thesegoddesses determined your fate.goddesses determined your fate.They were to blame when thingsThey were to blame when thingswent wrong, and were to be praisedwent wrong, and were to be praisedwhen --when --

Keri passes in front of the classroom, glances out the windowKeri passes in front of the classroom, glances out the windowand sees --and sees --

THE SHAPETHE SHAPE

standing behind the gates of the academy, waiting patientlystanding behind the gates of the academy, waiting patientlyfor his chance... eyes burning a hold right through her.for his chance... eyes burning a hold right through her.

THE STUDENTSTHE STUDENTS

wait for Keri to complete her thought... mumble softlywait for Keri to complete her thought... mumble softlyamongst themselves...amongst themselves...

KERIKERI

closes her eyes for a moment, takes a deep breath... lookscloses her eyes for a moment, takes a deep breath... looksoutside again... the Shape is STILL THERE!outside again... the Shape is STILL THERE!


The students make a mad dash for the hall.The students make a mad dash for the hall.

KERIKERI

moves swiftly through the throng of students, pushingmoves swiftly through the throng of students, pushingbewildered pupils aside as she makes her way to the schoolbewildered pupils aside as she makes her way to the schoolentrance...entrance...

CUT TO:CUT TO:

38. 38.


Keri emerges from the building, moves across the campusKeri emerges from the building, moves across the campustoward the iron gates... runs smack into --toward the iron gates... runs smack into --

WILLWILL

throws his arms around her waist...throws his arms around her waist...

WILLWILLWhoa... what's the hurry? I'm notWhoa... what's the hurry? I'm notgoing anywhere...going anywhere...

Keri doesn't respond, is too busy looking over Will'sKeri doesn't respond, is too busy looking over Will'sshoulder --shoulder --

KERI'S POV of the gate... the SHAPE has once againKERI'S POV of the gate... the SHAPE has once againdisappeared.disappeared.

Keri eyes the perimeter of the campus, searching for her longKeri eyes the perimeter of the campus, searching for her longlost brother.lost brother.


Hey, you all right?Hey, you all right?

KERIKERI(distracted)(distracted)

What?What?

WILLWILLWhat are you looking at?What are you looking at?

KERIKERII'm fine. I just need to lieI'm fine. I just need to liedown...down...

Keri breaks free from Will's grip, heads toward the facultyKeri breaks free from Will's grip, heads toward the facultyhousing, determined. Will watches her leave, face laced withhousing, determined. Will watches her leave, face laced withconcern...concern...

CUT TO:CUT TO:

INT. HOUSE - KITCHEN - MINUTES LATERINT. HOUSE - KITCHEN - MINUTES LATER

Keri climbs atop a foot stool, retrieves a BOTTLE of VodkaKeri climbs atop a foot stool, retrieves a BOTTLE of Vodkaconcealed behind bags of flour on the top shelf of theconcealed behind bags of flour on the top shelf of thepantry...pantry...

She spins off the top... brings the lip of the bottle to herShe spins off the top... brings the lip of the bottle to hermouth, hands trembling...mouth, hands trembling...

39. 39.

She stops short of taking the drink, bring the bottle downShe stops short of taking the drink, bring the bottle downfrom her lips...from her lips...

Keri climbs off the foot stool, crosses to the kitchen sinkKeri climbs off the foot stool, crosses to the kitchen sinkand pours the Vodka down the drain...and pours the Vodka down the drain...

CUT TO:CUT TO:

INT. LANGLEY POLICE DEPARTMENT - BLAKE'S OFFICE - DAYINT. LANGLEY POLICE DEPARTMENT - BLAKE'S OFFICE - DAY

Blake sits behind her desk leafing through the doubleBlake sits behind her desk leafing through the doublehomicide case file, looking for some stone that's been lefthomicide case file, looking for some stone that's been leftunturned...unturned...

She removes a FILE FOLDER from an evidence bag, "KERI TATE"She removes a FILE FOLDER from an evidence bag, "KERI TATE"in type across the index tape...in type across the index tape...

Blake opens it... still empty.Blake opens it... still empty.

ON THE FILE FOLDER.ON THE FILE FOLDER.

The light from her desk lamp falls across the open folder,The light from her desk lamp falls across the open folder,reveals a series of indentations in the left hand corner ofreveals a series of indentations in the left hand corner ofthe manilla paper...the manilla paper...

BLAKEBLAKE

struggles to make out the ghost writing... grabs a pencil,struggles to make out the ghost writing... grabs a pencil,moves the side of the lead swiftly across the folder...moves the side of the lead swiftly across the folder...

"6089244325""6089244325"

The numbers pop out against the shaded background...The numbers pop out against the shaded background...

BLAKEBLAKE

jots the numbers down on a nearby pad.jots the numbers down on a nearby pad.

ON THE PADON THE PAD

Blake tries formatting the numbers into a Social SecurityBlake tries formatting the numbers into a Social Securitynumber: "608-92-44325" too many numbers. She scratches itnumber: "608-92-44325" too many numbers. She scratches itout...out...

She tries again... puts parenthesis around the first threeShe tries again... puts parenthesis around the first threenumbers and a dash after the sixth number: "(608) 924-numbers and a dash after the sixth number: "(608) 924-4325" -- BINGO. A telephone number...4325" -- BINGO. A telephone number...

BLAKEBLAKE

picks up the telephone, dials the number...picks up the telephone, dials the number...

40. 40.

SECRETARY (O.S.)SECRETARY (O.S.)Hillcrest Academy, may I help you?Hillcrest Academy, may I help you?

CUT TO:CUT TO:

CLOSE ON: NEWSPAPER CLIPPINGSCLOSE ON: NEWSPAPER CLIPPINGS

from the "Haddonfield Leader" pinned to a large BULLETINfrom the "Haddonfield Leader" pinned to a large BULLETINBOARD, tales of the Michael Meyers' slayings splatteredBOARD, tales of the Michael Meyers' slayings splatteredacross the headlines.across the headlines.

A TELEPHONE RINGS in the b.g.A TELEPHONE RINGS in the b.g.

CAMERA PANS ACROSS the board, finds...CAMERA PANS ACROSS the board, finds...

CRIME SCENE PHOTOSCRIME SCENE PHOTOS

of Meyers' slain victims... bloody, graphic images assaultof Meyers' slain victims... bloody, graphic images assaultthe eye.the eye.

CAMERA PULLS BACK to reveal we are in --CAMERA PULLS BACK to reveal we are in --

INT. CARTER'S OFFICE - HADDONFIELD POLICE DEPARTMENT - DAYINT. CARTER'S OFFICE - HADDONFIELD POLICE DEPARTMENT - DAY

Carter sits beneath a desk... searches for the phone, findsCarter sits beneath a desk... searches for the phone, findsit buried beneath a sea of reports --it buried beneath a sea of reports --

CARTERCARTER(into phone)(into phone)

Carter.Carter.

BLAKEBLAKEIt's Blake. How do you feel aboutIt's Blake. How do you feel aboutWisconsin?Wisconsin?

ON Carter's puzzled expression...ON Carter's puzzled expression...

CUT TO:CUT TO:

EXT. FREEMAN'S DRUGSTORE - AFTERNOONEXT. FREEMAN'S DRUGSTORE - AFTERNOON

A YELLOW SCHOOL BUSA YELLOW SCHOOL BUS

parked across the street, filled to capacity with students.parked across the street, filled to capacity with students.

ON John watching from outside the school bus asON John watching from outside the school bus as

AN OFFICERAN OFFICER

strings yellow crime scene tape across the front of thestrings yellow crime scene tape across the front of thedrugstore.drugstore.

41. 41.

MOLLYMOLLY

stands next to John, arm around his waist... watchingstands next to John, arm around his waist... watchingcuriously...curiously...

LINDALINDA

leans against the side of the bus next to Shane...leans against the side of the bus next to Shane...

LINDALINDALook, they're staring right at us.Look, they're staring right at us.

SHANESHANE(to John)(to John)

You think your mom knows we snuckYou think your mom knows we snuckout last night?out last night?

JOHNJOHNNah, I didn't tell her where INah, I didn't tell her where Iwent.went.

MOLLYMOLLYIs that all you guys can thinkIs that all you guys can thinkabout? Amy never came back lastabout? Amy never came back lastnight. Maybe she's in trouble.night. Maybe she's in trouble.

LINDALINDABetter her than me.Better her than me.

MOLLYMOLLYYou're unbelievable.You're unbelievable.

SHANESHANELinda's right. I have Yale toLinda's right. I have Yale tothink about. Amy's going to thethink about. Amy's going to theBarbizon School of Beauty -- ifBarbizon School of Beauty -- ifthey let her retake her boards...they let her retake her boards...

ON BRUCE CLARK, a young deputy ducks under the yellow tape,ON BRUCE CLARK, a young deputy ducks under the yellow tape,approaches...approaches...

KERIKERI

stands in front of a squad car, craning her neck to get astands in front of a squad car, craning her neck to get alook at the proceedings...look at the proceedings...

KERIKERIBruce... what's going on? TheBruce... what's going on? Thekids are here to pick out theirkids are here to pick out theircostumes for the festival.costumes for the festival.

42. 42.

DEPUTY CLARKDEPUTY CLARKBetter take 'em to Virgil'sBetter take 'em to Virgil'sdowntown. We got a dead body indowntown. We got a dead body inthere.there.

Keri's heart skips a beat, she tries to digest the news...Keri's heart skips a beat, she tries to digest the news...

KERIKERIA dead body?A dead body?

DEPUTY CLARKDEPUTY CLARKIt's Amy Kramer.It's Amy Kramer.

KERIKERIMy god...My god...

DEPUTY CLARKDEPUTY CLARKPretty messy. Parents havePretty messy. Parents havealready been notified. Our officealready been notified. Our officehas been trying to get a hold ofhas been trying to get a hold ofyou...you...

Keri fears the worse, tries to hold herself together...Keri fears the worse, tries to hold herself together...

KERIKERIDo you know who did this?Do you know who did this?

DEPUTY CLARKDEPUTY CLARKWell, Eddie Catero didn't show upWell, Eddie Catero didn't show upfor work this morning... parentsfor work this morning... parentssay he never came home last night.say he never came home last night.Car's still missing.Car's still missing.

KERIKERI(wishful)(wishful)

Think Eddie had something to doThink Eddie had something to dowith it?with it?

DEPUTY CLARKDEPUTY CLARKDoesn't look good.Doesn't look good.

Deputy Clark turns in the direction of the bus...Deputy Clark turns in the direction of the bus...

DEPUTY CLARKDEPUTY CLARK(continuing)(continuing)

You best keep those studentsYou best keep those studentslocked behind those gates oflocked behind those gates ofyours... got ourselves a cold-yours... got ourselves a cold-blooded killer on the loose.blooded killer on the loose.

CUT TO:CUT TO:

43. 43.

EXT. HILLCREST ACADEMY - ESTABLISHINGEXT. HILLCREST ACADEMY - ESTABLISHING

Night. Wind assaults the trees. Lights illuminate a dozenNight. Wind assaults the trees. Lights illuminate a dozendorm windows.dorm windows.

EXT. GATES - SAME TIMEEXT. GATES - SAME TIME

A compact CAR pulls up behind the gates, high beamsA compact CAR pulls up behind the gates, high beamsilluminating the...illuminating the...

GUARD HOUSEGUARD HOUSE

There is an entrance on either side of the guard house...There is an entrance on either side of the guard house...inside sits Hattie.inside sits Hattie.

She cups her hands over her eyes, protecting them from theShe cups her hands over her eyes, protecting them from theglare of the auto's headlights. She checks --glare of the auto's headlights. She checks --

A MONITORA MONITOR

embedded in the console in front of her... black and whiteembedded in the console in front of her... black and whiteimage of the car idling outside the gates illuminates theimage of the car idling outside the gates illuminates thescreen.screen.

ON Hattie, unable to make out the identity of the driver. SheON Hattie, unable to make out the identity of the driver. Shesteps out of the guard house...steps out of the guard house...

EXT. GATESEXT. GATES

Through the gate, she sees a figure slumped behind theThrough the gate, she sees a figure slumped behind thewheel...wheel...

HATTIEHATTIE(calling off)(calling off)

Who's there?Who's there?

No response.No response.

HATTIEHATTIE(continuing)(continuing)

Please identify yourself, youngPlease identify yourself, youngman.man.

Still nothing. Hattie doesn't know what to do.Still nothing. Hattie doesn't know what to do.

She opens the gate with her gate key and walks through... sheShe opens the gate with her gate key and walks through... sheapproaches the car. The trees rustle nearby. She takes aapproaches the car. The trees rustle nearby. She takes alook, spooking herself. It is, after all, Halloween.look, spooking herself. It is, after all, Halloween.

She crosses to the driver's side window... looks inside toShe crosses to the driver's side window... looks inside tofind the body of --find the body of --

44. 44.

EDDIE CATEROEDDIE CATERO

the costume shop victim, slouched behind the wheel... face athe costume shop victim, slouched behind the wheel... face abloodied mess.bloodied mess.

HATTIEHATTIEMy Lord...My Lord...

Hattie stumbles backward... she's doesn't see THE SHAPE passHattie stumbles backward... she's doesn't see THE SHAPE passthrough the open gates behind her.through the open gates behind her.

She crosses back to the --She crosses back to the --

INT. GUARD HOUSEINT. GUARD HOUSE

Hattie quickly presses a BUTTON on the console in front ofHattie quickly presses a BUTTON on the console in front ofher, automatically closing the wrought iron gates outside...her, automatically closing the wrought iron gates outside...

THE SHAPETHE SHAPE

stands at the entrance to the left of guard house. Hattie'sstands at the entrance to the left of guard house. Hattie'sback to him.back to him.

She picks up the phone... no dial tone. She jiggles theShe picks up the phone... no dial tone. She jiggles thereceiver... comes up short.receiver... comes up short.

CLINK. A noise from outside.CLINK. A noise from outside.

Hattie spins around, faces the left entrance... no one inHattie spins around, faces the left entrance... no one insight.sight.

HATTIEHATTIE(softly)(softly)

Hello?Hello?

No answer. Hattie crosses to the left entrance, shuts theNo answer. Hattie crosses to the left entrance, shuts thedoor... throws the bolt.door... throws the bolt.

THE SHAPETHE SHAPE

appears behind Hattie... now standing at the entrance to theappears behind Hattie... now standing at the entrance to theright of the guard house.right of the guard house.

CLINK. Another noise, source unknown...CLINK. Another noise, source unknown...

Hattie spins around, faces the right entrance... the ShapeHattie spins around, faces the right entrance... the Shapehas vanished.has vanished.

Hattie crosses to the right entrance, shuts the door... locksHattie crosses to the right entrance, shuts the door... locksit. Now secured safely inside the guard house, Hattieit. Now secured safely inside the guard house, Hattiecrosses to a CB Radio...crosses to a CB Radio...

45. 45.

She turns it on... dials the emergency channel... isShe turns it on... dials the emergency channel... isdistracted by --distracted by --

THE CARTHE CAR

outside the gates... its headlights suddenly extinguish.outside the gates... its headlights suddenly extinguish.

ON Hattie, squints through through window in the car'sON Hattie, squints through through window in the car'sdirection...direction...

THE SHAPETHE SHAPE

emerges from the shadows behind her... wraps the CB cordemerges from the shadows behind her... wraps the CB cordaround her neck... Hattie struggles to free herself... heraround her neck... Hattie struggles to free herself... herface pressed up against the glass...face pressed up against the glass...

The Shape brandishes a knife... stabs her repeatedly in theThe Shape brandishes a knife... stabs her repeatedly in theback... ends the struggle.back... ends the struggle.

CUT TO:CUT TO:

INT. BELL TOWER - CONTINUOUSINT. BELL TOWER - CONTINUOUS

Wally, the custodian, climbs the four flights of stairs toWally, the custodian, climbs the four flights of stairs tothe massive bell partially enclosed at its top... he tugs onthe massive bell partially enclosed at its top... he tugs onthe rope dangling from the bell...the rope dangling from the bell...


Its sound resonating across the campus.Its sound resonating across the campus.

ON THE DORMS.ON THE DORMS.

The windows, once lit, are now extinguished, leaving theThe windows, once lit, are now extinguished, leaving thedorms shrouded in total darkness... lights out.dorms shrouded in total darkness... lights out.

INT. DORM - MOLLY'S ROOMINT. DORM - MOLLY'S ROOM

The sound of the ringing bell echoes softly through theThe sound of the ringing bell echoes softly through theroom...room...

Molly lies in her bed, unable to sleep, eyes to theMolly lies in her bed, unable to sleep, eyes to theceiling... her pajama clad body partially covered by a sheet.ceiling... her pajama clad body partially covered by a sheet.

ON "LURCH," THE SCHOOL DOGON "LURCH," THE SCHOOL DOG

lying beside Molly's bed, also asleep.lying beside Molly's bed, also asleep.

Molly hears the RUSTLING of bushes outside her window... sheMolly hears the RUSTLING of bushes outside her window... sheturns in its direction to see --turns in its direction to see --

46. 46.

THE BUSHESTHE BUSHES

moving forcefully, their branches scratching wildly againstmoving forcefully, their branches scratching wildly againstglass...glass...

MOLLYMOLLY

sits up in bed, her eyes glued to the window... she slowlysits up in bed, her eyes glued to the window... she slowlygets out of bed, moves toward it... leans against thegets out of bed, moves toward it... leans against thewindowpane.windowpane.

ANGLE THROUGH THE WINDOWANGLE THROUGH THE WINDOW

of the campus, bathed in moonlight... wind howls through theof the campus, bathed in moonlight... wind howls through thetrees... leaves scurry across the grounds.trees... leaves scurry across the grounds.

BANG! BANG!BANG! BANG!

A hand raps on her window. Molly jumps out of her skin.A hand raps on her window. Molly jumps out of her skin.

ON JOHNON JOHN

standing outside her window, motions her to open it. Shestanding outside her window, motions her to open it. Shedoes, sticks her head out...does, sticks her head out...

MOLLYMOLLY(whispering)(whispering)

What are you doing here?!What are you doing here?!

JOHNJOHN(whispering)(whispering)

I came to see you.I came to see you.

MOLLYMOLLYI can see that.I can see that.

(a beat)(a beat)Why?Why?

JOHNJOHNCan I come in?Can I come in?

MOLLYMOLLYAre you crazy? You'll get caught.Are you crazy? You'll get caught.

JOHNJOHNThen you come out here.Then you come out here.

MOLLYMOLLYThen I'll get caught.Then I'll get caught.

47. 47.

JOHNJOHN(louder)(louder)

Well, I'm not going until I talkWell, I'm not going until I talkto you.to you.

MOLLYMOLLYAll right. I'll come out. JustAll right. I'll come out. Justbe quiet.be quiet.

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - FIVE MINUTES LATEREXT. HILLCREST ACADEMY - FIVE MINUTES LATER

Molly and John meander through the wooded acreage along theMolly and John meander through the wooded acreage along theperimeter of the campus, hand-in-hand... the school buildingsperimeter of the campus, hand-in-hand... the school buildingscompletely obfuscated by the surrounding foliage.completely obfuscated by the surrounding foliage.

MOLLYMOLLYYou really think Eddie killed her?You really think Eddie killed her?

JOHNJOHNYou saw that Michael MeyersYou saw that Michael Meyersdisplay. You've got to be prettydisplay. You've got to be prettytwisted to come up with somethingtwisted to come up with somethinglike that.like that.

MOLLYMOLLYI guess. It's just hard toI guess. It's just hard tobelieve.believe.

THE SHAPETHE SHAPE

appears behind them in the distance, standing beside aappears behind them in the distance, standing beside atree... watching... waiting. It seems as though with eachtree... watching... waiting. It seems as though with eachcut the SHAPE moves closer...cut the SHAPE moves closer...

JOHNJOHNYou look kind of cold.You look kind of cold.

MOLLYMOLLYI'm okay.I'm okay.

JOHNJOHNHere, take my jacket.Here, take my jacket.

John takes off his letterman jacket, drapes it over herJohn takes off his letterman jacket, drapes it over hershoulders...shoulders...

The SHAPE disappears from view, into the thicket.The SHAPE disappears from view, into the thicket.

JOHNJOHN(continuing)(continuing)

Better?Better?

48. 48.

MOLLYMOLLYYeah.Yeah.

John gazes into Molly's eyes, her moves in closer... theyJohn gazes into Molly's eyes, her moves in closer... theyengage in a passionate kiss... John's hands begin to findengage in a passionate kiss... John's hands begin to findthere way up her blouse when --there way up her blouse when --

A PAIR OF HANDSA PAIR OF HANDS

grabs them by the back of their necks, pulls them to theirgrabs them by the back of their necks, pulls them to theirfeet! Shit! Molly SCREAMS... the CAMERA PULLS BACK TOfeet! Shit! Molly SCREAMS... the CAMERA PULLS BACK TOREVEAL...REVEAL...

KERIKERI

with a firm grip on them both, a disapproving look paintedwith a firm grip on them both, a disapproving look paintedacross her face.across her face.

KERIKERIAll right... fun's over.All right... fun's over.

EXT. SCHOOL GROUNDS - MINUTES LATEREXT. SCHOOL GROUNDS - MINUTES LATER

Keri moves across the campus, back to the school... Molly andKeri moves across the campus, back to the school... Molly andJohn in tow. They pass the group of faculty houses...John in tow. They pass the group of faculty houses...

KERIKERI(to John)(to John)

Go take a cold shower... I'll dealGo take a cold shower... I'll dealwith you later.with you later.

John heads for his house, waves good-bye to Molly... sheJohn heads for his house, waves good-bye to Molly... shewaves back sheepishly.waves back sheepishly.

Keri and Molly continue toward the dorms...Keri and Molly continue toward the dorms...


Molly, of all the people... if IMolly, of all the people... if Ican't trust my resident assistant,can't trust my resident assistant,then what?then what?

MOLLYMOLLYI know. I'm really, really sorry,I know. I'm really, really sorry,Miss Tate. Please let me keep theMiss Tate. Please let me keep thejob... it's the only way I canjob... it's the only way I canafford to stay here.afford to stay here.

KERIKERIOkay, tell you what... you canOkay, tell you what... you canstill be the school R.A., but nostill be the school R.A., but nodance tomorrow night.dance tomorrow night.

49. 49.

MOLLYMOLLY(relieved)(relieved)

Okay... thank you.Okay... thank you.

Molly gives Keri a hug...Molly gives Keri a hug...

KERIKERISomething tells me I won't get theSomething tells me I won't get thesame reaction when I tell John...same reaction when I tell John...

The two are completely unaware of...The two are completely unaware of...

THE SHAPETHE SHAPE

watching from the thicket, the moonlight reflected off hiswatching from the thicket, the moonlight reflected off hispale white mask.pale white mask.

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - ESTABLISHING - MORNINGEXT. HILLCREST ACADEMY - ESTABLISHING - MORNING

STUDENTS scurry from their dorms to the adjacent schoolSTUDENTS scurry from their dorms to the adjacent schoolbuilding, racing to make it to their a.m. classes on time...building, racing to make it to their a.m. classes on time...

SUPER the legend: "October 31st. Halloween."SUPER the legend: "October 31st. Halloween."

INT. GYMNASIUM - MORNINGINT. GYMNASIUM - MORNING

A group of students take laps in the indoor swimming poolA group of students take laps in the indoor swimming poolbeneath the retracted gymnasium floor.beneath the retracted gymnasium floor.

The gym is decorated for the Halloween festival that night...The gym is decorated for the Halloween festival that night...

Their coach, MRS. ROCKWELL, supervises from poolside, whistleTheir coach, MRS. ROCKWELL, supervises from poolside, whistledangling around her neck.dangling around her neck.

ON Molly, Linda, and SARAH LOCKE, the resident gossip withON Molly, Linda, and SARAH LOCKE, the resident gossip withbeauty pageant good looks, as they complete their final lap.beauty pageant good looks, as they complete their final lap.

They congregate in the shallow end, their goggles perched onThey congregate in the shallow end, their goggles perched ontheir heads...their heads...

MOLLYMOLLYI feel like everyone's staring atI feel like everyone's staring atme.me.

SARAHSARAHNews travels fast. It's all overNews travels fast. It's all overschool about you and John gettingschool about you and John gettingbusted in the woods by Miss Tate.busted in the woods by Miss Tate.

50. 50.

LINDALINDADon't suppose you had anything toDon't suppose you had anything todo with that, motor mouth.do with that, motor mouth.

SARAHSARAHShut up, freak.Shut up, freak.

Mrs. Rockwell blows her WHISTLE... the girls in the pool waitMrs. Rockwell blows her WHISTLE... the girls in the pool waitfor her instruction.for her instruction.

MRS. ROCKWELLMRS. ROCKWELLAll right, I know you girls haveAll right, I know you girls havethe big Halloween dance tonight,the big Halloween dance tonight,so I'm letting you go ten minutesso I'm letting you go ten minutesearly today.early today.

LINDALINDA(under her breath)(under her breath)

How generous of her.How generous of her.

Molly, Linda, and Sarah start to climb out of the pool...Molly, Linda, and Sarah start to climb out of the pool...

MRS. ROCKWELLMRS. ROCKWELLSarah, since you took it uponSarah, since you took it uponyourself to arrive ten minutesyourself to arrive ten minuteslate today, you can stay the extralate today, you can stay the extraten minutes.ten minutes.

SARAHSARAHBut Mrs. Rockwell...But Mrs. Rockwell...

MRS. ROCKWELLMRS. ROCKWELLUse the time to practice yourUse the time to practice yourdrive. You looked real sloppy outdrive. You looked real sloppy outthere today.there today.

LINDALINDAOoooh, busted.Ooooh, busted.

MOLLYMOLLYBig time. And news travels fast.Big time. And news travels fast.Wouldn't be surprised if the wholeWouldn't be surprised if the wholeschool knows about this one byschool knows about this one bytonight.tonight.

Sarah flips them the finger...Sarah flips them the finger...

SARAHSARAHSmile at the birdie, ladies.Smile at the birdie, ladies.

Molly and Linda head toward the locker room...Molly and Linda head toward the locker room...

51. 51.

LINDALINDASarah Locke. What a major bitch.Sarah Locke. What a major bitch.You know she waxes her stomach?You know she waxes her stomach?

Molly and Linda exit the gymnasium...Molly and Linda exit the gymnasium...

ON Sarah as she climbs out of the pool... walks to the divingON Sarah as she climbs out of the pool... walks to the divingboard on the other end of the deserted gym... places theboard on the other end of the deserted gym... places thegoggles over her eyes...goggles over her eyes...

She dives into the water... swims underwater toward theShe dives into the water... swims underwater toward theshallow end... she heads toward the surface...shallow end... she heads toward the surface...

SARAH POVSARAH POV

The SHAPE is standing poolside... his image warped by theThe SHAPE is standing poolside... his image warped by therolling water, bobbing and swaying with the current.rolling water, bobbing and swaying with the current.

Sarah breaks through the surface of the water, catches herSarah breaks through the surface of the water, catches herbreath... throws off her goggles, scans the gym...breath... throws off her goggles, scans the gym...

ANGLE ON THE GYMNASIUMANGLE ON THE GYMNASIUM

Empty. Not a soul in sight.Empty. Not a soul in sight.

Sarah shrugs it off, climbs back out of the pool... heads forSarah shrugs it off, climbs back out of the pool... heads forthe diving board...the diving board...

She dives into the water... as she emerges in the shallow endShe dives into the water... as she emerges in the shallow endthe lights in the gym extinguish... leaving her in darkness.the lights in the gym extinguish... leaving her in darkness.

SARAHSARAH(calling out)(calling out)

Hey! There's someone in here!Hey! There's someone in here!

No response. Sarah moves toward the stairs...No response. Sarah moves toward the stairs...

SARAHSARAH(continuing)(continuing)

Hell-o! I'm in here!Hell-o! I'm in here!

She grabs the railing, starts to pull herself out of theShe grabs the railing, starts to pull herself out of thepool, when suddenly...pool, when suddenly...

THE SHAPE GRABS HER BY THE NECK.THE SHAPE GRABS HER BY THE NECK.

Pushes her back into the pool... holds her head under thePushes her back into the pool... holds her head under thewater... her arms flail wildly as she struggles for breath...water... her arms flail wildly as she struggles for breath...

The Shape flashes a knife... slices into flesh...The Shape flashes a knife... slices into flesh...

Sarah's body goes limp... the SHAPE releases her... herSarah's body goes limp... the SHAPE releases her... herlifeless body floats face down in the bloody water.lifeless body floats face down in the bloody water.

52. 52.

WIDE OF THE GYMNASIUMWIDE OF THE GYMNASIUM

The SHAPE has disappeared from view.The SHAPE has disappeared from view.

CLANG-CLANG-CLANG.CLANG-CLANG-CLANG.

The gym floor begins to close over the pool, covering theThe gym floor begins to close over the pool, covering thefloating corpse inside of it.floating corpse inside of it.

CUT TO:CUT TO:


Keri moves across campus, notices --Keri moves across campus, notices --

THE MASSIVE WROUGHT IRON GATESTHE MASSIVE WROUGHT IRON GATES

open to the single lane road exiting the school.open to the single lane road exiting the school.

Keri eyes the GUARDHOUSE that sits at the entrance, indignant.Keri eyes the GUARDHOUSE that sits at the entrance, indignant.


Keri enters, the guard house is empty...Keri enters, the guard house is empty...

KERIKERI(calling off)(calling off)

Hattie?Hattie?

She's nowhere in sight...She's nowhere in sight...


Now where is she?Now where is she?

Keri pushes a BUTTON on the console in front of her.Keri pushes a BUTTON on the console in front of her.

THE GATESTHE GATES

slowly begin to close...slowly begin to close...

KERIKERI

exits the guard house, closes the door behind her... headsexits the guard house, closes the door behind her... headsback to the school.back to the school.

CLOSE ON: A COFFEE MUGCLOSE ON: A COFFEE MUG

sits on the console, filled with a deep red liquid...sits on the console, filled with a deep red liquid...

PLOP!PLOP!

A drop of blood falls fromA drop of blood falls from

53. 53.

THE CEILINGTHE CEILING

Blood soaks the drop-ceiling... Hattie's corpse hidden fromBlood soaks the drop-ceiling... Hattie's corpse hidden fromview.view.

CLANG!CLANG!

The GATES SHUT tight...The GATES SHUT tight...

CUT TO:CUT TO:

INT. HEADMASTER'S OFFICE - LATER THAT AFTERNOONINT. HEADMASTER'S OFFICE - LATER THAT AFTERNOON

Keri walks into her office, shuts the door behind her...Keri walks into her office, shuts the door behind her...turns to findturns to find

CARTERCARTER

seated in front of her desk... Blake stands beside him,seated in front of her desk... Blake stands beside him,looking out the office window...looking out the office window...

Keri jumps at the sight of the uninvited guests --Keri jumps at the sight of the uninvited guests --

KERIKERI(startled)(startled)

Shit!Shit!

Carter stands, takes one look at her and knows he's hit theCarter stands, takes one look at her and knows he's hit thejackpot...jackpot...

CARTERCARTERI'll be damned.I'll be damned.

KERIKERIDo I know you?Do I know you?

BLAKEBLAKEWe're sorry to startle you, MissWe're sorry to startle you, MissTate.Tate.

CARTERCARTERThe door was open, so we letThe door was open, so we letourselves in.ourselves in.

KERIKERII can see that. Who are you?I can see that. Who are you?

Carter flashes a smile, then his badge...Carter flashes a smile, then his badge...

CARTERCARTERDetective Carter from theDetective Carter from theHaddonfield P.D.Haddonfield P.D.

54. 54.

BLAKEBLAKEToni Blake from Langley P.D.Toni Blake from Langley P.D.

Keri knows exactly why they're here, her dual lives areKeri knows exactly why they're here, her dual lives arecrossing paths... they've found little sister.crossing paths... they've found little sister.

CARTERCARTERMind if we sit down?Mind if we sit down?

KERIKERII'd prefer you didn't. I'm veryI'd prefer you didn't. I'm verybusy.busy.

CARTERCARTEROkay, then how 'bout we ask you aOkay, then how 'bout we ask you afew questions?few questions?

KERIKERIDetective...Detective...

CARTERCARTERCarter.Carter.

KERIKERI... I think it would be best if... I think it would be best ifyou both left.you both left.

CARTERCARTERMight want to stop and think aboutMight want to stop and think aboutthe safety of your students, Missthe safety of your students, MissTate.Tate.

KERIKERII never stop thinking about it,I never stop thinking about it,Detective.Detective.

(pointing out the(pointing out thewindow)window)

The only way in or out of thisThe only way in or out of thisschool is through that gate, andschool is through that gate, andit is secured at all times.it is secured at all times.

CARTERCARTERFunny, we just drove right in.Funny, we just drove right in.

KERIKERIWell, I can assure you, it won'tWell, I can assure you, it won'thappen again. Thanks for yourhappen again. Thanks for yourconcern. Goodbye.concern. Goodbye.

Carter starts out... turns back toward Keri.Carter starts out... turns back toward Keri.

55. 55.

CARTERCARTERHas anyone ever told you, you bearHas anyone ever told you, you beara striking resemblance to Lauriea striking resemblance to LaurieStrode?Strode?

Keri glares at him for a beat... the walls around her areKeri glares at him for a beat... the walls around her arecollapsing.collapsing.

KERIKERINever heard of her.Never heard of her.

Blake removes a business card from her pocket, a phone numberBlake removes a business card from her pocket, a phone numberscribbled across its face. She places it on the desk...scribbled across its face. She places it on the desk...

BLAKEBLAKEThe Ferndale P.D. is setting up aThe Ferndale P.D. is setting up aroadblock couple miles down theroadblock couple miles down theroad. They think they're lookingroad. They think they're lookingfor a jealous boyfriend gonefor a jealous boyfriend gonemad... I think differently. Wemad... I think differently. Wecan protect you..can protect you..

Keri doesn't flinch, motions toward the door. Carter andKeri doesn't flinch, motions toward the door. Carter andBlake start out --Blake start out --

KERIKERIYou can't stop him.You can't stop him.

Carter stops, turns back toward her...Carter stops, turns back toward her...

CARTERCARTERNot without some help.Not without some help.

Carter and Blake exit, shut the door behind them...Carter and Blake exit, shut the door behind them...

CUT TO:CUT TO:

EXT. GATES - FIFTEEN MINUTES LATEREXT. GATES - FIFTEEN MINUTES LATER

Carter and Blake in a rental car to the side of the road justCarter and Blake in a rental car to the side of the road justoutside the gates.outside the gates.

Blake emerges from the passenger side... Carter tosses her aBlake emerges from the passenger side... Carter tosses her awalkie-talkie...walkie-talkie...

CARTERCARTERDon't be a stranger...Don't be a stranger...

Carter pulls away from the school...Carter pulls away from the school...

Blake hooks the walkie-talkie to her side, heads back intoBlake hooks the walkie-talkie to her side, heads back intothe campus, passes --the campus, passes --

56. 56.

A CARA CAR

hidden behind the bushes, Eddie's rotting corpse lockedhidden behind the bushes, Eddie's rotting corpse lockedinside...inside...

CUT TO:CUT TO:

INT. GIRLS' LOCKER ROOM - A HALF HOUR LATERINT. GIRLS' LOCKER ROOM - A HALF HOUR LATER

Lots of nubile young bodies moving to and fro, changing outLots of nubile young bodies moving to and fro, changing outof sweaty gym clothes into dry attire.of sweaty gym clothes into dry attire.

ON Molly, standing in front of a fogged-up mirror, straightON Molly, standing in front of a fogged-up mirror, straightfrom the shower... towel tucked firmly around her chest.from the shower... towel tucked firmly around her chest.

Linda stands to her right, putting on her make-up... also inLinda stands to her right, putting on her make-up... also ina towel.a towel.

LINDALINDAShane's going as a condom.Shane's going as a condom.

MOLLYMOLLYI thought you were allergic toI thought you were allergic tolatex.latex.

LINDALINDAI'll pop a Benadryl.I'll pop a Benadryl.

MOLLYMOLLYYou think they'll let him inYou think they'll let him indressed like that?dressed like that?

LINDALINDAOh, they're so stupid... I'll justOh, they're so stupid... I'll justtell them he's going as a sausagetell them he's going as a sausagecasing.casing.

Linda swipes her palm across the fogged-up mirror, wipingLinda swipes her palm across the fogged-up mirror, wipingaway the steam...away the steam...

ON the MIRROR. In its reflection we see Molly and Linda...ON the MIRROR. In its reflection we see Molly and Linda...then --then --

THE SHAPETHE SHAPE

appears from the cloud of steam behind them!appears from the cloud of steam behind them!

Other STUDENTS spot the intruder, run SCREAMING from theOther STUDENTS spot the intruder, run SCREAMING from thelocker room.locker room.

The SHAPE grabs Linda from behind... wields a knife... slitsThe SHAPE grabs Linda from behind... wields a knife... slitsher throat... blood cascades down her neck, 'blemishes theher throat... blood cascades down her neck, 'blemishes thetowel around her bust.towel around her bust.

57. 57.

ON Molly, immobile. Terrified. Unable to scream.ON Molly, immobile. Terrified. Unable to scream.

LINDA'SLINDA'S

lifeless body drops to the floor... eyes wide open in terror.lifeless body drops to the floor... eyes wide open in terror.

THE SHAPETHE SHAPE

shifts his attention toshifts his attention to

MOLLYMOLLY

gets her legs back, runs like hell... runs smack intogets her legs back, runs like hell... runs smack into

KERIKERI

at the locker room entrance... grabs Molly in her arms.at the locker room entrance... grabs Molly in her arms.

KERIKERIWhoa. What's going on in there?Whoa. What's going on in there?

Molly is on the verge of hysterics --Molly is on the verge of hysterics --

MOLLYMOLLYLinda! He killed Linda!Linda! He killed Linda!

KERIKERIWho?!Who?!

MOLLYMOLLYMichael Meyers!Michael Meyers!

Keri darts into the locker room...Keri darts into the locker room...

MOLLYMOLLY(continuing)(continuing)

Miss Tate, wait!Miss Tate, wait!

Molly follows her, stands in the relative safety of theMolly follows her, stands in the relative safety of thedoorway... Keri walks in to find --doorway... Keri walks in to find --

THE SHAPETHE SHAPE

standing above Linda's lifeless body... knife raised high instanding above Linda's lifeless body... knife raised high inthe air, dripping blood.the air, dripping blood.

ON Keri, her legs buckle... she struggles to stay standing.ON Keri, her legs buckle... she struggles to stay standing.

KERIKERIMichael, nooooooo!Michael, nooooooo!

Then, an even more bizarre sight --Then, an even more bizarre sight --

58. 58.

THE SHAPETHE SHAPE

starts to CHUCKLE... his shoulders bobbing up and down...starts to CHUCKLE... his shoulders bobbing up and down...bending over slightly at the waist.bending over slightly at the waist.

LINDA'SLINDA'S

lifeless body starts trembling with laughter.lifeless body starts trembling with laughter.

THE SHAPETHE SHAPE

reaches up to his mask, pulls it off... it's JOHN!reaches up to his mask, pulls it off... it's JOHN!

JOHNJOHNThat was classic...That was classic...

(imitating Keri)(imitating Keri)"Michael, nooooooo!""Michael, nooooooo!"

LINDALINDA

sits up, licks some blood off her fingers.sits up, licks some blood off her fingers.

LINDALINDAMmmm. Anyone got some FrenchMmmm. Anyone got some Frenchfries?fries?

John and Linda cracks up.John and Linda cracks up.

ON Keri, mortified... the sight of her son dressed like hisON Keri, mortified... the sight of her son dressed like hishomicidal uncle is almost too much for her to bear...homicidal uncle is almost too much for her to bear...

John and Linda are too busy revealing in their prank toJohn and Linda are too busy revealing in their prank tonotice...notice...

LINDALINDA(continuing)(continuing)

Molly, you should have seen yourMolly, you should have seen yourface...face...

Keri crosses over to John... SLAPS him across the face, hard.Keri crosses over to John... SLAPS him across the face, hard.John reels, probably the first time Keri's laid a hand onJohn reels, probably the first time Keri's laid a hand onhim...him...

KERIKERIHome... NOW!Home... NOW!

Keri grabs John by the arm, pushes him past Molly...Keri grabs John by the arm, pushes him past Molly...

CUT TO:CUT TO:

59. 59.

INT. HOUSE - LIVING ROOM - DAYINT. HOUSE - LIVING ROOM - DAY

John sits on the sofa. Will stands behind him... neitherJohn sits on the sofa. Will stands behind him... neithersure exactly what they're doing there.sure exactly what they're doing there.

Keri paces in front of them...Keri paces in front of them...

JOHNJOHNI'm sorry, all right? It was justI'm sorry, all right? It was justa stupid joke.a stupid joke.

KERIKERIWill, sit down...Will, sit down...

Will does.Will does.


There's something I have to tellThere's something I have to tellyou both. It's going to soundyou both. It's going to soundstrange...strange...

WILLWILLWhat?What?

KERIKERIMy name hasn't always been KeriMy name hasn't always been KeriTate. It was once Laurie Strode.Tate. It was once Laurie Strode.

WILLWILLYou're right. It does soundYou're right. It does soundstrange.strange.

JOHNJOHNYou some kind of fugitive orYou some kind of fugitive orsomething?something?

KERIKERII was trying to get away fromI was trying to get away fromsomeone.someone.

WILLWILLWho?Who?

KERIKERIMichael Meyers.Michael Meyers.

WILLWILLThe serial killer?The serial killer?

KERIKERIHe's my brother.He's my brother.

60. 60.

JOHNJOHNNow you're joking, right?Now you're joking, right?

KERIKERIAfraid not. You can pick yourAfraid not. You can pick yourfriends, but you can't pick yourfriends, but you can't pick yourfamily.family.

WILLWILLKeri, have you been...Keri, have you been...

Will mimes taking a drink from a bottle...Will mimes taking a drink from a bottle...

KERIKERINo, Will, this isn't the alcoholNo, Will, this isn't the alcoholtalking. It's the truth.talking. It's the truth.

WILLWILLI can't believe this is happening.I can't believe this is happening.

KERIKERIShit happens.Shit happens.

JOHNJOHNWait a minute... slow down...Wait a minute... slow down...you're telling me Michael Meyersyou're telling me Michael Meyersis my uncle?is my uncle?

KERIKERIYes.Yes.

JOHNJOHNAny other psychotic relatives IAny other psychotic relatives Ishould know about? Jason? Freddyshould know about? Jason? FreddyKrueger?Krueger?

KERIKERINo.No.

JOHNJOHNWhy didn't you tell me?Why didn't you tell me?

KERIKERII was trying to protect you fromI was trying to protect you fromthis...this...

Keri holds up this trademark Halloween mask, a tuft of hairKeri holds up this trademark Halloween mask, a tuft of hairtightly in her grip...tightly in her grip...

John crosses to the front door, opens it...John crosses to the front door, opens it...

61. 61.


Where are you going?Where are you going?

JOHNJOHNI don't know.I don't know.

John exits. Keri starts after him, Will grabs her by theJohn exits. Keri starts after him, Will grabs her by thearm...arm...

WILLWILLYou just dropped a shitload onYou just dropped a shitload onhim... give him some time tohim... give him some time todigest it.digest it.

KERIKERIAre you going to leave, too?Are you going to leave, too?

WILLWILLNever.Never.

Keri nuzzles her head against Will's chest...Keri nuzzles her head against Will's chest...


So you're really Michael Meyers'So you're really Michael Meyers'sister?sister?

KERIKERIYeah.Yeah.

WILLWILLDo we have to invite him to theDo we have to invite him to thewedding?wedding?

Keri laughs, more out of relief than anything...Keri laughs, more out of relief than anything...

CUT TO:CUT TO:

EXT. ROADSIDE - LATE AFTERNOONEXT. ROADSIDE - LATE AFTERNOON

A couple of Ferndale P.D. SQUAD CARS flank either side of theA couple of Ferndale P.D. SQUAD CARS flank either side of theroad.road.

ROADBLOCKSROADBLOCKS

lined up across the asphalt deny access to the roadwaylined up across the asphalt deny access to the roadwayleading to Hillcrest.leading to Hillcrest.

ON Carter, leaning against a squad car. Deputy Clark standsON Carter, leaning against a squad car. Deputy Clark standsnext to him. Carter lights up a cigarette...next to him. Carter lights up a cigarette...

62. 62.

DEPUTY CLARKDEPUTY CLARKDon't worry, Detective. No one'sDon't worry, Detective. No one'sgetting up to that school.getting up to that school.

CARTERCARTERAnd this is the only way up toAnd this is the only way up toHillcrest?Hillcrest?

DEPUTY CLARKDEPUTY CLARKSure is. Unless your boy can fly.Sure is. Unless your boy can fly.

CARTERCARTERI hope not.I hope not.

Deputy Clark laughs, Carter doesn't... just takes anotherDeputy Clark laughs, Carter doesn't... just takes anotherdrag off his cigarette...drag off his cigarette...

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - NIGHTEXT. HILLCREST ACADEMY - NIGHT

Darkness falls... Halloween night.Darkness falls... Halloween night.

COSTUMED STUDENTSCOSTUMED STUDENTS

make their way inside the gymnasium.make their way inside the gymnasium.

ON A BAND OF MISFITS.ON A BAND OF MISFITS.

Freshman, armed with cartons of eggs and rolls of toiletFreshman, armed with cartons of eggs and rolls of toiletpaper, emerge stealthily from the wooded acreage... theypaper, emerge stealthily from the wooded acreage... theyattack the Hillcrest Administrative Building.attack the Hillcrest Administrative Building.

ON WALLY.ON WALLY.

The school custodian heads for the bell tower... spots theThe school custodian heads for the bell tower... spots theyoung punks across campus defacing what he works so hard toyoung punks across campus defacing what he works so hard topreserve.preserve.

He takes off in their direction.He takes off in their direction.

WALLYWALLY(calling off)(calling off)

Hey, you kids! Knock that off!Hey, you kids! Knock that off!Get over here!Get over here!

The boys see Wally headed in their direction... theyThe boys see Wally headed in their direction... theyscramble, head back for the woods... a few of them throw eggsscramble, head back for the woods... a few of them throw eggsin Wally's direction.in Wally's direction.

Wally makes it about halfway across campus before his oldWally makes it about halfway across campus before his oldticker kicks in... he has to stop... catches his breath.ticker kicks in... he has to stop... catches his breath.

63. 63.

WALLYWALLY(continuing)(continuing)

Damn kids.Damn kids.

Wally turns around, heads back to the bell tower.Wally turns around, heads back to the bell tower.

One by one the freshman disappear into the thicket... one ofOne by one the freshman disappear into the thicket... one ofthe boys runs smack into...the boys runs smack into...

THE SHAPE.THE SHAPE.

The boys stares up at him, startled... he darts after hisThe boys stares up at him, startled... he darts after hisfriends... the SHAPE continues toward Hillcrest.friends... the SHAPE continues toward Hillcrest.


Molly sits on the windowpane, her forehead pressed againstMolly sits on the windowpane, her forehead pressed againstthe glass. Lurch, the dog, lies across her bed.the glass. Lurch, the dog, lies across her bed.


A view of the entire campus. Couples make their way acrossA view of the entire campus. Couples make their way acrossthe grounds, move inside the gymnasium.the grounds, move inside the gymnasium.

Molly lets out a sigh, wishes that were her and John... sheMolly lets out a sigh, wishes that were her and John... shecontinues to stare longingly out the window...continues to stare longingly out the window...

THROUGH THE GLASSTHROUGH THE GLASS

ON Wally as he moves to the bell tower, disappears inside. HeON Wally as he moves to the bell tower, disappears inside. Heis followed by...is followed by...

THE SHAPETHE SHAPE

ON Molly. She sits up, takes notice... watches as the SHAPEON Molly. She sits up, takes notice... watches as the SHAPEmoves inside the bell tower, then suddenly...moves inside the bell tower, then suddenly...

A PAIR OF HANDSA PAIR OF HANDS

grabs Molly by the shoulders... spins her around, revealing...grabs Molly by the shoulders... spins her around, revealing...

LINDALINDA

in full "Bride of Frankenstein" costume.in full "Bride of Frankenstein" costume.

LINDALINDABlaaaaaggghhhhh!Blaaaaaggghhhhh!

MOLLYMOLLYShit, Linda!Shit, Linda!

LINDALINDAYou're so easy...You're so easy...

64. 64.

MOLLYMOLLYWasn't scaring the hell out of meWasn't scaring the hell out of meonce today enough?!once today enough?!

LINDALINDANope. Hey, you think I'll winNope. Hey, you think I'll winscariest costume?scariest costume?

MOLLYMOLLYLinda, you are without a doubt theLinda, you are without a doubt thescariest person on campus.scariest person on campus.

LINDALINDAThanks!Thanks!

MOLLYMOLLYWhere's Shane?Where's Shane?

LINDALINDACondom Boy is waiting for me inCondom Boy is waiting for me inthe cafeteria.the cafeteria.

MOLLYMOLLYBut the dance is in the gymnasium.But the dance is in the gymnasium.

LINDALINDAVery insightful.Very insightful.


Echoes across the campus.Echoes across the campus.

LINDALINDALet the party begin.Let the party begin.

MOLLYMOLLYHave enough fun for the both of us.Have enough fun for the both of us.

LINDALINDAOh, don't be such a victim.Oh, don't be such a victim.

Linda produces a couple of shot bottles from her purse,Linda produces a couple of shot bottles from her purse,tosses them on the bed.tosses them on the bed.


Here. Drink a couple of these.Here. Drink a couple of these.It'll putcha in a much betterIt'll putcha in a much bettermood. Ta-ta.mood. Ta-ta.

Linda exits. The bell continues to ring. Molly sits on theLinda exits. The bell continues to ring. Molly sits on thebed, pats Lurch on the head.bed, pats Lurch on the head.

65. 65.

MOLLYMOLLYGuess it's just you and me, boy.Guess it's just you and me, boy.

The bell stops ringing abruptly. Molly turns her attentionThe bell stops ringing abruptly. Molly turns her attentionback to the window...back to the window...


At the top of the bell tower... the SHAPE stands beside theAt the top of the bell tower... the SHAPE stands beside themassive bell... staring in Molly's direction, looking rightmassive bell... staring in Molly's direction, looking rightthrough her.through her.

Molly gasps softly. She looks down below and sees...Molly gasps softly. She looks down below and sees...

LINDALINDA

leave the dormitory, heads for the cafeteria. Molly looksleave the dormitory, heads for the cafeteria. Molly looksback up to the bell tower... the SHAPE has vanished.back up to the bell tower... the SHAPE has vanished.

MOLLYMOLLYJust some idiot in a costume...Just some idiot in a costume...

Molly sits back on her bed, uses Lurch as a pillow... MollyMolly sits back on her bed, uses Lurch as a pillow... Mollypicks up one of the shot bottles, twists off the lid.picks up one of the shot bottles, twists off the lid.

MOLLYMOLLY(continuing)(continuing)

Let the party begin.Let the party begin.

Molly takes a swig from the bottle. She shudders, her sourMolly takes a swig from the bottle. She shudders, her sourexpression says it all...expression says it all...

INT. CAFETERIAINT. CAFETERIA

Dark and abandoned. THE CAMERA PANS across a bevy of emptyDark and abandoned. THE CAMERA PANS across a bevy of emptytables and chairs to reveal...tables and chairs to reveal...

LINDA AND SHANELINDA AND SHANE

liplocked, hands all over each other. Linda sits on the edgeliplocked, hands all over each other. Linda sits on the edgeof a table.of a table.

Shane, dressed as a condom, stands between her legs.Shane, dressed as a condom, stands between her legs.

THE SHAPETHE SHAPE

watches from the kitchen, illuminated only by the light fromwatches from the kitchen, illuminated only by the light froma nearby soda machine.a nearby soda machine.

Shane pushes Linda down onto the table, starts to unbuttonShane pushes Linda down onto the table, starts to unbuttonher blouse...her blouse...

66. 66.

LINDALINDAWait.Wait.

SHANESHANEWhat is it?What is it?

LINDALINDAI have to pee.I have to pee.

SHANESHANECan't you hold it?Can't you hold it?

LINDALINDACan't you?Can't you?

Linda pushes Shane off her, heads for the restroom. SheLinda pushes Shane off her, heads for the restroom. Shepasses the kitchen area... the SHAPE is nowhere in sight.passes the kitchen area... the SHAPE is nowhere in sight.

Linda enters the bathroom...Linda enters the bathroom...

INT. BATHROOMINT. BATHROOM

Linda crosses to a shall, tugs on the door... it's locked.Linda crosses to a shall, tugs on the door... it's locked.She knocks on the door.She knocks on the door.

LINDALINDASomebody in there?Somebody in there?

No answer. She pulls at it again... still doesn't budge.No answer. She pulls at it again... still doesn't budge.


Hellooooo.Hellooooo.

She kneels down on the ground, peers under the door. Nothing.She kneels down on the ground, peers under the door. Nothing.

She stands back up... shrugs it off... moves to the nextShe stands back up... shrugs it off... moves to the nextstall and goes inside, closing the door behind her.stall and goes inside, closing the door behind her.

TIGHT ON DOORTIGHT ON DOOR

As Linda takes care of "business."As Linda takes care of "business."

LINDA (O.S.)LINDA (O.S.)(singing)(singing)

IF YOU THINK I'M SEXY. AND YOUIF YOU THINK I'M SEXY. AND YOUWANT MY BODY. COME ON, BABY. LETWANT MY BODY. COME ON, BABY. LETME KNOW.ME KNOW.

The toilet flushes. Linda emerges from the stall, crosses toThe toilet flushes. Linda emerges from the stall, crosses tothe mirror... checks her make-up.the mirror... checks her make-up.

67. 67.

ANGLE ON THE MIRRORANGLE ON THE MIRROR

Linda admires her reflection... not noticing the stall doorLinda admires her reflection... not noticing the stall doorwhich was previously locked is now opened.which was previously locked is now opened.

She smiles at herself, licks her teeth, then exits to theShe smiles at herself, licks her teeth, then exits to thehallway.hallway.

INT. CAFETERIAINT. CAFETERIA

Linda emerges from the bathroom... she heads toward theLinda emerges from the bathroom... she heads toward thecenter of the room...center of the room...

ANGLE ON THE CAFETERIAANGLE ON THE CAFETERIA

Empty. No sign of Shane anywhere.Empty. No sign of Shane anywhere.

LINDALINDA(calling off)(calling off)

Shane?Shane?

CLANG! A NOISE FROM THE KITCHEN.CLANG! A NOISE FROM THE KITCHEN.

Linda moves into the kitchen area where...Linda moves into the kitchen area where...

THE SHAPETHE SHAPE

emerges from the shadows, attacks Linda... grabs her by theemerges from the shadows, attacks Linda... grabs her by thethroat, lifts her into the air...throat, lifts her into the air...

Her head hits the pot rack hanging above her... pots and pansHer head hits the pot rack hanging above her... pots and pansdrop to the tile floor below...drop to the tile floor below...

Linda flails her arms and legs, desperately trying to freeLinda flails her arms and legs, desperately trying to freeherself form the SHAPE'S grasp...herself form the SHAPE'S grasp...

She kicks the refrigerator door behind her... it swings openShe kicks the refrigerator door behind her... it swings opento reveal...to reveal...

SHANE'S BODY STUFFED INSIDE.SHANE'S BODY STUFFED INSIDE.

Asphyxiated, his condom hat pulled down over his head... hisAsphyxiated, his condom hat pulled down over his head... hiscorpse topples out of her refrigerator, falls onto thecorpse topples out of her refrigerator, falls onto thefloor...floor...

THE SHAPETHE SHAPE

flicks the switch on a nearby MEAT SLICER, it WHIRS to life.flicks the switch on a nearby MEAT SLICER, it WHIRS to life.

The Shape forces Linda's head against the slicer... sheThe Shape forces Linda's head against the slicer... shestruggles furiously as her cheek approaches the spinningstruggles furiously as her cheek approaches the spinningblade...blade...

68. 68.

BLOOD SPLATTERSBLOOD SPLATTERS

everywhere as Linda is carved into quarter-inch slices...everywhere as Linda is carved into quarter-inch slices...

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - NIGHTEXT. HILLCREST ACADEMY - NIGHT

VARIOUS SHOTS of the empty campus, all the students nowVARIOUS SHOTS of the empty campus, all the students nowcongregated inside the gymnasium.congregated inside the gymnasium.

The pulsating beat of faint dance MUSIC drifts across theThe pulsating beat of faint dance MUSIC drifts across thegrounds.grounds.

INT. GYMNASIUM - SAME TIMEINT. GYMNASIUM - SAME TIME

The festival is in full swing... jam packed with costumedThe festival is in full swing... jam packed with costumedcouples dancing across the floor. CHAPERONES line the walls.couples dancing across the floor. CHAPERONES line the walls.

KERIKERI

leans against the refreshment table, sans costume. Armsleans against the refreshment table, sans costume. Armsfolded... there in body, mind elsewhere.folded... there in body, mind elsewhere.

WILLWILL

approaches her, dressed as Count Dracula. He offers Keri aapproaches her, dressed as Count Dracula. He offers Keri aglass of punch...glass of punch...

WILLWILL(as Dracula)(as Dracula)

May I offer you some fresh blood?May I offer you some fresh blood?I squeezed it myself.I squeezed it myself.

Keri glances at him, not amused...Keri glances at him, not amused...

KERIKERINot a real fan of Halloween humor,Not a real fan of Halloween humor,Will.Will.

WILLWILL(realizing)(realizing)

Oh, right. Sorry.Oh, right. Sorry.

KERIKERII'm gonna head back to theI'm gonna head back to theoffice... finish up some things.office... finish up some things.

WILLWILLCan't it wait till Monday? ICan't it wait till Monday? Ithought maybe we could dance...thought maybe we could dance...

(as Dracula)(as Dracula)I'm very light of my feet.I'm very light of my feet.

69. 69.

Keri manages a sincere smile, gives him a kiss...Keri manages a sincere smile, gives him a kiss...

KERIKERIThanks, but I'm not much in theThanks, but I'm not much in themood for dancing. Enjoy themood for dancing. Enjoy theparty... you did a great job.party... you did a great job.

Keri heads for the exit, Will watches her leave...Keri heads for the exit, Will watches her leave...

CUT TO:CUT TO:


CLOSE ON A HALF EMPTY SHOT BOTTLECLOSE ON A HALF EMPTY SHOT BOTTLE

on the bedside table, next to two other shot bottles...on the bedside table, next to two other shot bottles...untouched. CAMERA PANS to the bed where...untouched. CAMERA PANS to the bed where...

MOLLYMOLLY

lies, fully clothed... facing the ceiling. Eyes wide open,lies, fully clothed... facing the ceiling. Eyes wide open,thinking of the night that could have been...thinking of the night that could have been...

ON Lurch, lying on the floor beside the bed... he sits up,ON Lurch, lying on the floor beside the bed... he sits up,his eyes focused on...his eyes focused on...

THE CLOSETTHE CLOSET

Its door slightly ajar... the lights on inside. SomethingIts door slightly ajar... the lights on inside. Somethinginside catches Lurch's attention... he GROWLS.inside catches Lurch's attention... he GROWLS.

Molly reaches over the side of the bed, pats the dog on hisMolly reaches over the side of the bed, pats the dog on hishead.head.

MOLLYMOLLYWhatcha growling at, huh?Whatcha growling at, huh?

Lurch continues to snarl at the closet. Molly sits up in theLurch continues to snarl at the closet. Molly sits up in thebed...bed...

ANGLE ON THE CLOSETANGLE ON THE CLOSET

Light seeps out from the cracks in the open door,Light seeps out from the cracks in the open door,illuminating the sleeves of several hanging blouses.illuminating the sleeves of several hanging blouses.

MOLLYMOLLYLurch, there's nothing in thereLurch, there's nothing in therebut clothes.but clothes.

Molly gets up... moves to the closet, open it...Molly gets up... moves to the closet, open it...

70. 70.

INSIDE THE CLOSETINSIDE THE CLOSET

Wall-to-wall clothes hang from wooden dowels... Molly palmsWall-to-wall clothes hang from wooden dowels... Molly palmsthe lightswitch, flicks off the light.the lightswitch, flicks off the light.

Molly closes the door, tight... heads to the bathroom downMolly closes the door, tight... heads to the bathroom downthe hall, Lurch follows her out.the hall, Lurch follows her out.

EXT. GYMNASIUM - SAME TIMEEXT. GYMNASIUM - SAME TIME

The misfits who tee-pee'd the school have returned, this timeThe misfits who tee-pee'd the school have returned, this timewith black duffel bags in tow.with black duffel bags in tow.

ON THE REAR DOUBLE DOORSON THE REAR DOUBLE DOORS

of the gymnasium... one of the FRESHMEN pulls a thick threeof the gymnasium... one of the FRESHMEN pulls a thick threefoot long CHAIN from his duffel bag... wraps it around thefoot long CHAIN from his duffel bag... wraps it around thedoor handles... he produces a PADLOCK, hooks it through thedoor handles... he produces a PADLOCK, hooks it through theloops of the chain... snaps it shut, locked tight.loops of the chain... snaps it shut, locked tight.

ON THE GYMNASIUM ENTRANCEON THE GYMNASIUM ENTRANCE

Another freshman sneaks into the gymnasium, while a fellowAnother freshman sneaks into the gymnasium, while a fellowSCHOOLMATE hide behind some bushes... on the lookout forSCHOOLMATE hide behind some bushes... on the lookout forWally.Wally.


Molly returns from the bathroom, passes...Molly returns from the bathroom, passes...

THE CLOSET DOOR.THE CLOSET DOOR.

It's ajar once again.It's ajar once again.

Molly climbs into bed, turns on her side... she reaches overMolly climbs into bed, turns on her side... she reaches overto the side of the bed... pets the dog.to the side of the bed... pets the dog.

MOLLYMOLLYGuess there's always next year...Guess there's always next year...if I live past the humiliation ofif I live past the humiliation oftonight.tonight.

At that very moment, Molly sees...At that very moment, Molly sees...

LURCH!LURCH!

The dog enters the room, sits in the doorway... growls in herThe dog enters the room, sits in the doorway... growls in herdirection.direction.

ON Molly. Shit! She instantly stops petting whatever isON Molly. Shit! She instantly stops petting whatever isunder the bed.under the bed.

71. 71.

CLOSE ON HER EYESCLOSE ON HER EYES

full of confusion, flushes with fear.full of confusion, flushes with fear.

Terrified, she slowly leans over the edge of the bed... comesTerrified, she slowly leans over the edge of the bed... comeseye-to-eye with --eye-to-eye with --

THE SHAPE!THE SHAPE!

Beneath her bed, staring right at her... she was petting theBeneath her bed, staring right at her... she was petting thehair on his mask all along.hair on his mask all along.

Molly SCREAMS. The SHAPE grabs her arm, drags her off theMolly SCREAMS. The SHAPE grabs her arm, drags her off thebed onto the floor.bed onto the floor.

Molly struggles with him, as he tries to climb on top of her.Molly struggles with him, as he tries to climb on top of her.

The SHAPE maintains a strong grip on her ankle with one hand,The SHAPE maintains a strong grip on her ankle with one hand,swings a knife fiercely at her with the other.swings a knife fiercely at her with the other.

He makes contact, slices open her left thigh...He makes contact, slices open her left thigh...

Molly SCREAMS in agony, kicks her legs wildly... she managesMolly SCREAMS in agony, kicks her legs wildly... she managesto strike a hard blow to his head.to strike a hard blow to his head.

She breaks free of his grip, takes off limping down theShe breaks free of his grip, takes off limping down thehall... her hand pressed against the gaping wound carved inhall... her hand pressed against the gaping wound carved inher thigh.her thigh.

ANGLE ON THE HALLANGLE ON THE HALL

Seems to stretch for miles...Seems to stretch for miles...

Molly limps down the corridor, dragging her leg behind her...Molly limps down the corridor, dragging her leg behind her...she looks behind her... no sign for the SHAPE... yet.she looks behind her... no sign for the SHAPE... yet.

She ducks into one of the room, hides behind the door.She ducks into one of the room, hides behind the door.

THE SHAPETHE SHAPE

emerges from her room... heads down the hall.emerges from her room... heads down the hall.

ON Molly trying desperately not to breathe, she watches as...ON Molly trying desperately not to breathe, she watches as...

THE SHADOW OF THE SHAPETHE SHADOW OF THE SHAPE

passes by... she lets out a silent sigh of relief, whenpasses by... she lets out a silent sigh of relief, whensuddenly...suddenly...

THE SHAPETHE SHAPE

steps back into the doorway, looks into the room.steps back into the doorway, looks into the room.

72. 72.

Molly freezes, looks at the wall beside her, she sees...Molly freezes, looks at the wall beside her, she sees...

HER OWN SHADOWHER OWN SHADOW

projected on the wall, it betrays her.projected on the wall, it betrays her.

MOLLYMOLLY(squealing)(squealing)

Oh, God...Oh, God...

The SHAPE reaches through the crack in the hinged side of theThe SHAPE reaches through the crack in the hinged side of thedoor... grabs Molly by the hair, reels her in.door... grabs Molly by the hair, reels her in.

Molly grabs the door... pulls it towards her, smashing theMolly grabs the door... pulls it towards her, smashing theSHAPE'S arm between the door and the jam. He releases her...SHAPE'S arm between the door and the jam. He releases her...

She flies out of the room, down the hall... stumbles down aShe flies out of the room, down the hall... stumbles down aflight of stairs... dashes out of the dormitory.flight of stairs... dashes out of the dormitory.


The party is in full swing. Students and teachers alikeThe party is in full swing. Students and teachers alikecrowd the gym floor, dancing to the music blaring from thecrowd the gym floor, dancing to the music blaring from theloudspeakers above.loudspeakers above.

CLOSE ON A SIGNCLOSE ON A SIGN

"CAUTION: BE SURE TO CLEAR GYM AND/OR POOL BEFORE"CAUTION: BE SURE TO CLEAR GYM AND/OR POOL BEFOREOPERATING FLOOR"OPERATING FLOOR"

Hung above a large red button. THE CAMERA PULLS BACK TOHung above a large red button. THE CAMERA PULLS BACK TOREVEAL the freshman, who snuck in earlier, poised beneathREVEAL the freshman, who snuck in earlier, poised beneathit...it...

He punches the button, then pops it off and puts it in hisHe punches the button, then pops it off and puts it in hispocket... he darts for the front entrance.pocket... he darts for the front entrance.

CLANG-CLANG-CLANG!CLANG-CLANG-CLANG!

The gymnasium floor begins to move beneath the students'The gymnasium floor begins to move beneath the students'feet, splits right down the middle... retracts into thefeet, splits right down the middle... retracts into thewalls...walls...

The students part like the Red Sea, hooting and hollering asThe students part like the Red Sea, hooting and hollering asthe pool beneath them is revealed.the pool beneath them is revealed.

EXT. GYMNASIUMEXT. GYMNASIUM

The freshman flies out of the gym, slams the doors shutThe freshman flies out of the gym, slams the doors shutbehind him... his schoolmate chains the doors, locks thembehind him... his schoolmate chains the doors, locks themwith a padlock. They dart for the woods, passing...with a padlock. They dart for the woods, passing...

73. 73.

MOLLYMOLLY

stumbles towards them, her pants bloodied. She SCREAMS,stumbles towards them, her pants bloodied. She SCREAMS,tries to get their attention... they disappear into thetries to get their attention... they disappear into thethicket.thicket.

She moves to the rear of the gymnasium, bangs on the chainedShe moves to the rear of the gymnasium, bangs on the chaineddoors... SCREAMS for help, looks over her shoulder to see...doors... SCREAMS for help, looks over her shoulder to see...

THE SHAPETHE SHAPE

headed straight for her. She hobbles to the front entrance,headed straight for her. She hobbles to the front entrance,bangs on the door...bangs on the door...

MOLLYMOLLYLet me in! Oh, God, help me!Let me in! Oh, God, help me!Somebody... goddamnit!Somebody... goddamnit!

The SHAPE closes in.The SHAPE closes in.


Molly's screams are lost amongst the gleeful SQUEALS of theMolly's screams are lost amongst the gleeful SQUEALS of theparty goers.party goers.

revealing...revealing...

SARAHSARAH

floating, face down in the pool... water tainted bright redfloating, face down in the pool... water tainted bright redwith her blood, illuminated by the pool light.with her blood, illuminated by the pool light.

The mood suddenly changes... the SCREAMS of excitementThe mood suddenly changes... the SCREAMS of excitementquickly turn into SHRIEKS of horror. Bedlam ensues...quickly turn into SHRIEKS of horror. Bedlam ensues...

Frightened students scramble toward the entrance, knockingFrightened students scramble toward the entrance, knockingparty goers into the pool... trampling over others.party goers into the pool... trampling over others.

AT THE ENTRANCEAT THE ENTRANCE

Students stack up against the doors, pounding furiously...Students stack up against the doors, pounding furiously...trying to get out.trying to get out.

WILLWILL

tries to calm the petrified party-goers...tries to calm the petrified party-goers...

INT. HEADMASTER'S OFFICE - SAME TIMEINT. HEADMASTER'S OFFICE - SAME TIME

Keri sits behind her desk, Detective Blake's BUSINESS CARD inKeri sits behind her desk, Detective Blake's BUSINESS CARD inhand...hand...

She picks up the phone, brings it to her ear...She picks up the phone, brings it to her ear...

74. 74.

NO DIAL TONE.NO DIAL TONE.

She jiggles the receiver... STILL NOTHING. She is distractedShe jiggles the receiver... STILL NOTHING. She is distractedby --by --

MOLLY'S SCREAMSMOLLY'S SCREAMS

from outside her office. Keri crosses to the window...from outside her office. Keri crosses to the window...


Molly standing at the gymnasium entrance, pounding againstMolly standing at the gymnasium entrance, pounding againstthe door with bloody palms... screaming bloody murder, tryingthe door with bloody palms... screaming bloody murder, tryingdesperately to get in, while the students on the other sidedesperately to get in, while the students on the other sidetry in vain to get out.try in vain to get out.

KERIKERIMolly?Molly?

The SHAPE approaches her, now only a few feet away.The SHAPE approaches her, now only a few feet away.

Molly tugs feverishly at the chains, they hold tight. SheMolly tugs feverishly at the chains, they hold tight. Shebolts for the bell tower, trailing blood... the SHAPE follows.bolts for the bell tower, trailing blood... the SHAPE follows.

ON Keri, horrified... he's back. She charges out of theON Keri, horrified... he's back. She charges out of theoffice, on a mission...office, on a mission...

CUT TO:CUT TO:

INT. BELL TOWERINT. BELL TOWER

Molly bursts through the door... she stops at the bottom ofMolly bursts through the door... she stops at the bottom ofthe staircase, looks up to see...the staircase, looks up to see...

FOUR FLIGHTS OF STAIRSFOUR FLIGHTS OF STAIRS

spiraling high above her. She hobbles up the stairway,spiraling high above her. She hobbles up the stairway,grunting in agony...grunting in agony...

As she makes her ascent, she looks down to see...As she makes her ascent, she looks down to see...

A SHADOWA SHADOW

three flights down, begins its climb up the stairs. Mollythree flights down, begins its climb up the stairs. Mollypicks up the pace...picks up the pace...

EXT. BELL TOWER - CONTINUOUSEXT. BELL TOWER - CONTINUOUS

Molly emerges at the top of the bell tower... runs over toMolly emerges at the top of the bell tower... runs over tothe rope dangling from the massive bell... pulls with all herthe rope dangling from the massive bell... pulls with all hermight, causes...might, causes...

75. 75.

THE BELLTHE BELL

to swing... BUT there is no sound!to swing... BUT there is no sound!

Molly frantically pulls the rope again, SCREAMING madly...Molly frantically pulls the rope again, SCREAMING madly...trying desperately to get someone's attention...trying desperately to get someone's attention...

Still no sound! She moves to the gargantuan bell, looksStill no sound! She moves to the gargantuan bell, looksinside and sees...inside and sees...

WALLY'S BODYWALLY'S BODY

stuffed up inside of it, preventing the clapper from strikingstuffed up inside of it, preventing the clapper from strikingthe bell.the bell.

Molly reaches in, grabs Wally's shirt... tugs with all herMolly reaches in, grabs Wally's shirt... tugs with all hermight... expels the cadaver with a final heave-ho.might... expels the cadaver with a final heave-ho.

ON Wally's corpse as it falls four stories down, lands at theON Wally's corpse as it falls four stories down, lands at thefoot of the staircase.foot of the staircase.

Molly stumbles back... wraps the rope around her wrists, tugsMolly stumbles back... wraps the rope around her wrists, tugswith all her weight...with all her weight...

RING-RING-RING! THE BELL RESONATES ACROSS CAMPUS. A callRING-RING-RING! THE BELL RESONATES ACROSS CAMPUS. A callfor help...for help...

Molly continues to pull at the rope, her wrists bleeding asMolly continues to pull at the rope, her wrists bleeding asthe cord digs into her skin. She watches in horror as...the cord digs into her skin. She watches in horror as...

A SHADOWA SHADOW

approaches the top of the stairway... a FIGURE emerges,approaches the top of the stairway... a FIGURE emerges,it's...it's...

THE SHAPETHE SHAPE

Molly SCREAMS... the SHAPE grabs he... wraps the ROPE tightlyMolly SCREAMS... the SHAPE grabs he... wraps the ROPE tightlyaround her neck... Molly grasp for breath.around her neck... Molly grasp for breath.

ON KERION KERI

Running furiously across the campus... trying desperately toRunning furiously across the campus... trying desperately toreach the bell tower in time...reach the bell tower in time...

ON THE SHAPEON THE SHAPE

Moves Molly to the wall of the bell tower, tosses her overMoves Molly to the wall of the bell tower, tosses her overthe edge....the edge....

76. 76.

ON KERION KERI

Watches in horror as Molly falls two flights before the ropeWatches in horror as Molly falls two flights before the ropegoes taunt, snapping her neck instantly... the bell CLANGS.goes taunt, snapping her neck instantly... the bell CLANGS.

KERIKERINooooooooo!Nooooooooo!


A group of STUDENTS, with Will at the helm, use a WOODENA group of STUDENTS, with Will at the helm, use a WOODENBENCH as a battering ram...BENCH as a battering ram...

BOOM!BOOM!

The bench slams against the gym entrance, the metal doorsThe bench slams against the gym entrance, the metal doorsstart to buckle...start to buckle...

BOOM!BOOM!

ON THE GYMNASIUM DOORS, the weight of the wooden bench popsON THE GYMNASIUM DOORS, the weight of the wooden bench popsthe chains wrapped around the handles, the doors fly open...the chains wrapped around the handles, the doors fly open...

KERIKERI

watches as crazed STUDENTS pour out of the gymnasium, headwatches as crazed STUDENTS pour out of the gymnasium, headfor the parked buses across campus...for the parked buses across campus...

STUDENTS spot Molly dangling from the bell tower... SCREAMSSTUDENTS spot Molly dangling from the bell tower... SCREAMSof terror echo across campus...of terror echo across campus...

Keri turns back to the bell tower... the SHAPE IS GONE!Keri turns back to the bell tower... the SHAPE IS GONE!

KERIKERI(realizing)(realizing)

John...John...

She heads toward --She heads toward --

THE PARKED SCHOOL BUSESTHE PARKED SCHOOL BUSES

being filled to capacity with screaming teens...being filled to capacity with screaming teens...

WILLWILL

leads the charge of getting all students safely aboard.leads the charge of getting all students safely aboard.

KERIKERI

manages to find John amongst the throng...manages to find John amongst the throng...

KERIKERIJohn!John!

77. 77.

Mother and son reunite...Mother and son reunite...

JOHNJOHNHe found you, didn't he?He found you, didn't he?

KERIKERIGet on the bus.Get on the bus.

JOHNJOHNWhere's Molly? She's not in herWhere's Molly? She's not in herroom...room...

KERIKERIJust get on the bus.Just get on the bus.

JOHNJOHNI'm not leaving without her.I'm not leaving without her.

KERIKERIJohn, you can't help her now.John, you can't help her now.

JOHNJOHNWhat? Where is she?What? Where is she?

KERIKERIJohn...John...

Keri's at a loss for words, it's written all over her face...Keri's at a loss for words, it's written all over her face...

JOHNJOHNOh, God... no... not Molly.Oh, God... no... not Molly.

KERIKERIPlease, get on the bus...Please, get on the bus...

John hesitates for a beat... climbs into the bus, takes aJohn hesitates for a beat... climbs into the bus, takes awindow seat...window seat...

WILLWILL

crosses to Keri, hugs her tight...crosses to Keri, hugs her tight...

WILLWILLKeri, you all right?Keri, you all right?

KERIKERIWe've got to get these kids out ofWe've got to get these kids out ofhere...here...

WILLWILLI'll make sure there's no kidsI'll make sure there's no kidsleft in the dorms...left in the dorms...

78. 78.

WILLWILL

dashes toward the dorms...dashes toward the dorms...

KERIKERI

climbs aboard the bus, stands next to the driver... waitsclimbs aboard the bus, stands next to the driver... waitsimpatiently for Will to return.impatiently for Will to return.

EXT. HILLCREST ACADEMYEXT. HILLCREST ACADEMY

The BUSES are on the move... leaving the academy singleThe BUSES are on the move... leaving the academy singlefile...file...

ON JOHNON JOHN

Watching from inside his bus as it prepares to leave...Watching from inside his bus as it prepares to leave...

ON KERION KERI

Waves to John through the window, knows this may be the lastWaves to John through the window, knows this may be the lasttime she ever sees him.time she ever sees him.

She turns to the driver --She turns to the driver --

KERIKERIYou go ahead. Will and I willYou go ahead. Will and I willfollow you in my car.follow you in my car.

The DRIVER nods in agreement...The DRIVER nods in agreement...

JOHN'S POVJOHN'S POV

Keri gets off the bus, watches as the last bus drives throughKeri gets off the bus, watches as the last bus drives throughthe open gates of the academy...the open gates of the academy...

Keri crosses to the dorms, disappears inside --Keri crosses to the dorms, disappears inside --

INT. DORMSINT. DORMS

Keri moves noiselessly down the hallway... searching for anyKeri moves noiselessly down the hallway... searching for anysign of Will... holding her breath with every door she checkssign of Will... holding her breath with every door she checksbehind...behind...

KERIKERI(a loud whisper)(a loud whisper)

Will... Will, where are you?Will... Will, where are you?

Keri rounds a corner, spots --Keri rounds a corner, spots --

79. 79.

SMOKESMOKE

seeping through the cracks of a swinging door leading to theseeping through the cracks of a swinging door leading to thedorm's kitchenette.dorm's kitchenette.

KERIKERI

crosses to the swinging door, slowly pushes it open tocrosses to the swinging door, slowly pushes it open toreveal --reveal --

WILLWILL

his whole upper torso shoved into the oven, clothes ablaze.his whole upper torso shoved into the oven, clothes ablaze.

KERIKERI

runs into the kitchen, yanks Will out of the oven by his legs.runs into the kitchen, yanks Will out of the oven by his legs.

ON WILL. Hair singed-off his head, his face a mangled massON WILL. Hair singed-off his head, his face a mangled massof burning flesh, mouth agape in horror...of burning flesh, mouth agape in horror...

KERIKERIOh, God, Will...Oh, God, Will...

Keri kneels down beside him, helpless... filled with rage...Keri kneels down beside him, helpless... filled with rage...

SWOOSH!SWOOSH!

The kitchen door swings violently to and fro... Keri spinsThe kitchen door swings violently to and fro... Keri spinsaround, startled by --around, startled by --

LURCHLURCH

The dog jumps on her chest, licks her face gleefully.The dog jumps on her chest, licks her face gleefully.

KERIKERIGet off me...Get off me...

The dog's mood changes suddenly: he stops licking Keri andThe dog's mood changes suddenly: he stops licking Keri andGROWLS ferociously at something behind her...GROWLS ferociously at something behind her...

Keri slowly turns around to see --Keri slowly turns around to see --

THE SHAPETHE SHAPE

standing above her, comes down on her with a knife... makesstanding above her, comes down on her with a knife... makescontact, slices her shoulder wide open.contact, slices her shoulder wide open.

KERIKERI

scrambles to her feet, grabs a pot off the stove... swings atscrambles to her feet, grabs a pot off the stove... swings atthe SHAPE.the SHAPE.

80. 80.

CLANG!CLANG!

Delivers a hard blow to the SHAPE'S head with the iron pot.Delivers a hard blow to the SHAPE'S head with the iron pot.The SHAPE stumbles backward, Keri sprints out the door...The SHAPE stumbles backward, Keri sprints out the door...

EXT. DORMSEXT. DORMS

Keri comes running from the building, dashes across campusKeri comes running from the building, dashes across campusand into --and into --


Keri bursts through the door, runs down the hallway into --Keri bursts through the door, runs down the hallway into --

INT. BEDROOMINT. BEDROOM

CLOSE ON: DETECTIVE BLAKECLOSE ON: DETECTIVE BLAKE

Her body sprawled across Keri's bed, THROAT SLIT from ear-to-Her body sprawled across Keri's bed, THROAT SLIT from ear-to-ear... a TOMBSTONE in lieu of a headboard, "LAURIE STRODE"ear... a TOMBSTONE in lieu of a headboard, "LAURIE STRODE"carved into stone.carved into stone.

KERIKERIYou son of a bitch!You son of a bitch!

The fury wells inside of her. Keri crosses to the bed, dropsThe fury wells inside of her. Keri crosses to the bed, dropsto her knees... pulls out the metal box underneath theto her knees... pulls out the metal box underneath themattress... opens it... IT'S EMPTY!mattress... opens it... IT'S EMPTY!


Shit!Shit!

CUT TO:CUT TO:

EXT. HILLCREST ACADEMYEXT. HILLCREST ACADEMY

Keri runs from the house, determined... makes her way acrossKeri runs from the house, determined... makes her way acrosscampus to --campus to --


Keri crosses to the console, pushes the BUTTON that controlsKeri crosses to the console, pushes the BUTTON that controlsthe gate... it begins to close slowly.the gate... it begins to close slowly.

CRASH!CRASH!

Hattie's body falls from the drop-ceiling above, lands rightHattie's body falls from the drop-ceiling above, lands righton top of Keri. Shit. Keri throws the bloody corpse off ofon top of Keri. Shit. Keri throws the bloody corpse off ofher.her.

81. 81.

She looks around the room... zeroes in on the large CBShe looks around the room... zeroes in on the large CBRADIO...she picks it up and SMASHES it against theRADIO...she picks it up and SMASHES it against theconsole...over and over again... sparks fly... the gate nowconsole...over and over again... sparks fly... the gate nowpermanently closed.permanently closed.

Keri reaches down, pulls Hattie's key ring from her body...Keri reaches down, pulls Hattie's key ring from her body...moves outside.moves outside.

EXT. GATESEXT. GATES

Keri moves to the gate... locks it using Hattie's keys, thenKeri moves to the gate... locks it using Hattie's keys, thentosses them over the gate into the brush.tosses them over the gate into the brush.


Time to put an end to thisTime to put an end to thisnightmare, motherfucker!nightmare, motherfucker!

Keri heads back toward the school.Keri heads back toward the school.

CUT TO:CUT TO:

EXT. ROADBLOCK - SAME TIMEEXT. ROADBLOCK - SAME TIME

Deputy Clark lies on the hood of his patrol car, hat over hisDeputy Clark lies on the hood of his patrol car, hat over hisface... catching some z's. Carter stands by the woodenface... catching some z's. Carter stands by the woodenbarriers, spots --barriers, spots --

THE LINE OF BUSESTHE LINE OF BUSES

speeding toward the roadblock, headed for the small townspeeding toward the roadblock, headed for the small townbelow...below...

CARTERCARTERWhat the hell?What the hell?

Deputy Clark is awakened by the approaching caravan. CarterDeputy Clark is awakened by the approaching caravan. Carterwaves down a bus, moves to the door --waves down a bus, moves to the door --

CARTERCARTER(continuing)(continuing)

What's happening?What's happening?

DRIVERDRIVERWe're evacuating the school. BeenWe're evacuating the school. Beentwo murders up there tonight.two murders up there tonight.Killer's still on the loose...Killer's still on the loose...

CARTERCARTERGoddamnit!Goddamnit!

Carter runs back to the patrol car, followed by Deputy Clark.Carter runs back to the patrol car, followed by Deputy Clark.

82. 82.

DEPUTY CLARKDEPUTY CLARK(calling off)(calling off)

Call for back-up!Call for back-up!

A flurry of action as OFFICERS clear the roadblocks, get onA flurry of action as OFFICERS clear the roadblocks, get onthe radio and call for back-up...the radio and call for back-up...

Carter and Deputy Clark climb into the patrol car, headed forCarter and Deputy Clark climb into the patrol car, headed forthe school...the school...

Carter grabs his walkie-talkie, barks into it --Carter grabs his walkie-talkie, barks into it --

CARTERCARTERBlake, what's going on up there!Blake, what's going on up there!

CUT TO:CUT TO:

INT. BEDROOM - SAME TIMEINT. BEDROOM - SAME TIME

ON BLAKE'S WALKIE-TALKIEON BLAKE'S WALKIE-TALKIE

still hooked to the side of her lifeless body...still hooked to the side of her lifeless body...

CARTER (O.S.)CARTER (O.S.)Blake! Do you hear me? Blake!Blake! Do you hear me? Blake!

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - SAME TIMEEXT. HILLCREST ACADEMY - SAME TIME

VARIOUS SHOTS of the empty campus. Keri moves brazenlyVARIOUS SHOTS of the empty campus. Keri moves brazenlyacross school grounds, looking for the big brother....across school grounds, looking for the big brother....

As she passes the bell tower, she sees --As she passes the bell tower, she sees --

A SHADOWA SHADOW

move inside the gymnasium... she quickly approaches --move inside the gymnasium... she quickly approaches --

INT. GYMNASIUMINT. GYMNASIUM

Keri moves inside the decorated gym... stops at aKeri moves inside the decorated gym... stops at a

FIRE AXEFIRE AXE

hanging behind glass... she picks up a plastic skull, smasheshanging behind glass... she picks up a plastic skull, smashesthe glass with it... grabs the AXE and continues inside...the glass with it... grabs the AXE and continues inside...

CLICK!CLICK!

The lights go out... the gym now eerily illuminated only byThe lights go out... the gym now eerily illuminated only bycarved pumpkins lit around its perimeter.carved pumpkins lit around its perimeter.

83. 83.

Keri continues on, bravely... the fire axe tightly in herKeri continues on, bravely... the fire axe tightly in hergrip.grip.


Let's ends this right now. YouLet's ends this right now. Youwant to kill me to fulfill yourwant to kill me to fulfill yourtwisted obsession, then go ahead.twisted obsession, then go ahead.I'm tired of playing hide-and-I'm tired of playing hide-and-seek, brother. Come on, finishseek, brother. Come on, finishwhat you started, you miserablewhat you started, you miserablefuck.fuck.

CLANG-CLANG-CLANG!CLANG-CLANG-CLANG!

Keri jumps... the gymnasium floor beneath her begins to move,Keri jumps... the gymnasium floor beneath her begins to move,closing back over the pool...closing back over the pool...

Keri continues to move alongside the pool, when --Keri continues to move alongside the pool, when --

THE SHAPETHE SHAPE

jumps from the bleachers, buries a knife deep into Keri'sjumps from the bleachers, buries a knife deep into Keri'sarm... she SCREAMS in pain... drops the fire axe into thearm... she SCREAMS in pain... drops the fire axe into thepool.pool.

The Shape pulls the knife from Keri's arm, stands aboveThe Shape pulls the knife from Keri's arm, stands aboveher... he raises the knife high into the air, about to plungeher... he raises the knife high into the air, about to plungeit straight into Keri's heart, when --it straight into Keri's heart, when --

BANG! A BULLET BURROWS INTO THE SHAPE'S SHOULDER.BANG! A BULLET BURROWS INTO THE SHAPE'S SHOULDER.

Spins him around, comes face-to-face with...Spins him around, comes face-to-face with...

JOHNJOHN

standing behind him, wielding Keri's SMITH AND WESSON. Thestanding behind him, wielding Keri's SMITH AND WESSON. TheSHAPE moves toward him.SHAPE moves toward him.

BANG! BANG! BANG!BANG! BANG! BANG!

JOHN empties the chamber into the Shape, thrust himJOHN empties the chamber into the Shape, thrust himbackward...backward...

THE SHAPETHE SHAPE

falls into the pool, pulls Keri into the water with him...falls into the pool, pulls Keri into the water with him...

KERIKERI

struggles to climb out of the pool, the Shape fights to pullstruggles to climb out of the pool, the Shape fights to pullher back in....her back in....

84. 84.

THE SHAPETHE SHAPE

finds the axe, swings at Keri... slice open her thigh.finds the axe, swings at Keri... slice open her thigh.

JOHNJOHN

grabs Keri by the arms, manages to pull her out.grabs Keri by the arms, manages to pull her out.

THE SHAPETHE SHAPE

strives to climb out of the water as the gym floor continuesstrives to climb out of the water as the gym floor continuesto close... he swings the axe, buries the blade into the gymto close... he swings the axe, buries the blade into the gymfloor... grabs the handle, uses it to pull himself out...floor... grabs the handle, uses it to pull himself out...

KERIKERI

grabs a JAVELIN hanging on the wall...grabs a JAVELIN hanging on the wall...

THE SHAPETHE SHAPE

pulls his upper torso out of the water just aspulls his upper torso out of the water just as

KERIKERI

raises the javelin high into the air, when --raises the javelin high into the air, when --

CLOSE ON: THE SHAPECLOSE ON: THE SHAPE

Reaches out for her... then, a sound altogether unnatural --Reaches out for her... then, a sound altogether unnatural --

THE SHAPETHE SHAPE(a desperate plea)(a desperate plea)

Laurie...Laurie...

Time stands still -- TOTAL SILENCE.Time stands still -- TOTAL SILENCE.

ON KERI. All the love and loss of the past twenty yearsON KERI. All the love and loss of the past twenty yearsplays all over her face, when --plays all over her face, when --

KERIKERIMichael...Michael...

(then)(then)Go to hell!Go to hell!

KERIKERI

plunges the javelin through his body with all her might,plunges the javelin through his body with all her might,pierces his heart... the javelin juts out of his back.pierces his heart... the javelin juts out of his back.

THE SHAPETHE SHAPE

arches his back in pain, grabs the metal rod... triesarches his back in pain, grabs the metal rod... triesdesperately to remove it, sinks into the water...desperately to remove it, sinks into the water...

85. 85.

THE GYM FLOORTHE GYM FLOOR

closes above him... CLANG!closes above him... CLANG!

Half the javelin sticks out above the floor... it twitchesHalf the javelin sticks out above the floor... it twitchesfiercely, then stops...fiercely, then stops...

CARTERCARTER

storms the gym, gun drawn... followed by Deputy Clark and astorms the gym, gun drawn... followed by Deputy Clark and adozen armed police officers. He approaches Keri...dozen armed police officers. He approaches Keri...

KERIKERIGuess he was stopable, after all.Guess he was stopable, after all.

THE TERROR IS GONE.THE TERROR IS GONE.

Keri and John embrace.Keri and John embrace.

CUT TO:CUT TO:

EXT. HILLCREST ACADEMY - A HALF HOUR LATEREXT. HILLCREST ACADEMY - A HALF HOUR LATER

POLICE CARS litter the campus. The corpse of THE SHAPE liesPOLICE CARS litter the campus. The corpse of THE SHAPE liescovered on a gurney... a pair of PARAMEDICS roll it past --covered on a gurney... a pair of PARAMEDICS roll it past --

AN AMBULANCEAN AMBULANCE

parked near the entrance, its rear doors open revealing --parked near the entrance, its rear doors open revealing --

JOHNJOHN

being tended to by a PARAMEDIC. Keri sits next to him...being tended to by a PARAMEDIC. Keri sits next to him...

JOHNJOHNI just can't believe she's dead.I just can't believe she's dead.

Keri does the only thing a mother can do, gives him a hug...Keri does the only thing a mother can do, gives him a hug...

KERIKERII love you, John.I love you, John.

Always the guy, John just shrugs, giving her a tough smile.Always the guy, John just shrugs, giving her a tough smile.

JOHNJOHNYeah, me too, Keri.Yeah, me too, Keri.

KERIKERICall me Laurie, will ya?Call me Laurie, will ya?

JOHNJOHNKeri.... Laurie... how about if IKeri.... Laurie... how about if Ijust call you Mom?just call you Mom?

86. 86.

KERIKERIThat would work.That would work.

The two embrace an another PARAMEDIC closes the rear doors ofThe two embrace an another PARAMEDIC closes the rear doors ofthe ambulance, locking Keri and John safely inside.the ambulance, locking Keri and John safely inside.

THROUGH THE REAR WINDOWSTHROUGH THE REAR WINDOWS

Mother and son continue to bond as the ambulance drives offMother and son continue to bond as the ambulance drives offinto the night.into the night.

CUT TO BLACK:CUT TO BLACK:

THE ENDTHE END

halloween: h20 twenty years later story by robert zappia ... · you scared the hell out of me....

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